Always a pleasure to listen to this. The generator will have to get up pretty early in the morning to find a better opener/closer combo than Five Years and Rock ‘n’ Roll Suicide. And then there’s Moonage Daydream, Ziggy Stardust, Suffragette City, Starman… Let all the children boogie, I say.

Will this be the album where I finally get the hype around The Rolling Stones...?? Nope. 18 tracks and none of them really excited me. Shine a Light at a push. It's all fine, if you fancy an hour of competent bluesy rock & roll, but 'competent' alone will only get you 2.5 stars, tops.

6 year old me, just getting into football after initially hating it, played and lost his first ever penalty shootout one evening at Beavers (almost entirely down to Daniel's pathetically statuesque performance in net - cheers Daniel). As the credits rolled on this tragic, so-near-yet-so-far defeat, the melody to Don't Look Back In Anger inexplicably started playing in my head. I didn't know the words, what it was called, or who it was by, but I tried humming it to my mum, who reckoned it might be an old song about flamingoes. Incredibly, when I unwrapped a CD-shaped present on Christmas Day that year, it wasn't the flamingo song but WTSMG. I was finally able to put a name to my glorious failure anthem. But wait! There's that Roll With It song that the kids at school are always trying to sing! I recognise this 'Wonderwall' tune too! And that's the story of my first ever album. It began a love affair with music and losing penalty shootouts that remains to this day.

There's something in the instrumentation that compliments the subject matter perfectly. That autoharp has a ghostly quality about it that makes me thing of old-timey soldiers trudging off to war, and rugged, wintry English countryside. Not every track is a galáctico (The Last Living Rose and On Battleship Hill are my favourites) but as a self-contained album it's more the sum of its parts. 4.5.

Always liked Simon & Garfunkel but was still surprised by how much I enjoyed this, given they have other, better regarded albums. Good melodies, good harmonies, good lyrics. More up-tempo stuff than I expected. Traditional folk but still buzzing with creativity. Feelin' Groovy is a childhood favourite of mine. A very pleasant way to spend 28 minutes.

Turns out I never listened to this one all the way through before. It's very lo-fi! Can hear Nirvana and future Foos in different places. Particularly enjoyed the combo of Good Grief and Floaty in the middle. I'd rate it a 3.5 if I could but these are the greatest albums of ALL TIME were talking about so I'm marking harsh.

Bit hit and miss; weird mix of styles, covers etc. Jangly AF. Eight Miles High is still a tune and I do like What's Happening?

Tricky one to judge. As a live album I think it ticks most of the boxes (good musicianship, some tight segues between tracks, English rock band bantz) but the setlist is a little hit and miss for me (a lot of my favourite Who songs came later), and I have to be in the right mood to enjoy the extended classic rock jams. It's gonna have to be another 3.5. Which means another 3. Despite bonus points for Happy Jack.

Hadn't realised the second half was all instrumental. I dig it. I think I'd enjoy whatever imaginary film it's a soundtrack to. Also, Sound and Vision is one of my favourites and worth big points on its own. FOUR STARS.

Was I charmed by the old-timey crowd noise from intimate club setting and Sarah's ad-libbing on 'Willow Weep For Me'? Sure. Do I sometimes enjoy a bit of smooth jazz and pretend to be sophisticated? You betcha. Can I separate this album from all the other smooth jazz albums? And will I revisit it? Probably not, on both counts. My loss, I'm sure.

An enjoyable slice of sludge-rock. Parts of it sound like a QOTSA prototype (e.g. Mass Production), & also Bowie-esque, for obvious reasons. I like Iggy's voice and his lyrics, so lots of pros... but I don't think it veers into 'greatness' territory very often. Mainly just vibez. 3.5 or whatever.

Got a bit bored, especially in the second half, and some songs dragged a bit. To be fair, there are some good'uns, like Simple Man, and if this album came on while I was in a bar in the southern US of A it's probably exactly what I'd want to hear. Most of the time I'm not, though. 2.5 stars.

Never heard of these Soft Boys before, but they made a good first impression. A bit like an 70s/80s Supergrass. Big points for the batshit lyrics, and decent blend of singalong-ability & post-punky experimentation. 3.5.

Harmless toe-tappin' fun. If there was a prize for 'earliest mention of the album title within the album', this would win.

The covers are fun, but what I really enjoyed was the second half. This isn't something I'd usually say, but if the 13 minute jam (Sagar) had been the whole album I would've given it 4 stars. I felt like I had a little trip to another world, and that was just sitting at my desk in the office...

I usually like Brazilian music but really struggled to connect with this for some reason. The beats got more interesting and inventive as the album went on, so it *just about* scrapes a second star.

Enjoyed this more the second time after reading up a on a bit of context. Certain songs 'hit harder', as the kids says. I'm now willing to give this a hefty promotion to a 3.5. I reckon there's probably a better Neil Young album out there, though.

Very enjoyable New Orleans grooves that hook you in instantly. The more raucous they are the better IMO, for that street parade kinda feel. Can't work out if I've heard Blueberry Hill before but it's got the feel of a timeless classic to it. A genre I wouldn't choose to listen to very often, but when I do maybe this'll be my go-to album. 3.5.

It's fine. Think I've got a bit of 70s guitar album fatigue at the moment though - couldn't really get excited by anything on here except Another Girl, Another Planet, which might earn it a 2.5.

This is tricky, because I have huge respect for any band that can cram 28 tracks into 33 minutes. I'm also convinced that Napalm Death have absolutely nailed whatever the hell it was they were trying to achieve here. Plus, I had a smile on my face throughout most of it, *particularly* enjoying You Suffer. Would probably be a great live experience, until my eardrums exploded. But then again, there aren't really even any decent riffs. Ultimately, it's a 1.5, or '1' for short. If not now, when...?!

So the Sex Pistols manager made an album that sounds like it inspired Eminem, Paul Simon, Pixies, The Avalanches and more. Wild. Even the 'radio show' format has been used a lot since. Some of it's genuinely enjoyable, the rest is at least interesting as an experiment. A nice discovery.

Like a jazzier Thin Lizzy. Sometimes the groovy noodling got a bit tiresome and aimless, although there are some strong vocal hooks that stuck in my head too. When King of the World finished Spotify played it again, and I let it. That speaks poorly of Spotify's algorithms but highly of the track, I think. I never reached ecstasy, but to be fair this album only ever promised a countdown. The pressure's on the next album to provide it though.

This was supposed to be the ecstasy after the countdown... :-/ The move to shorter, more focused songs without the flab was nice, and I liked the earthy, old-timey vibes of East St Louis Toodle-Oo, With a Gun, Charlie Freak etc. But the more traditional song-writing does mean this album doesn't stand out from the pack as much as the previous one did, for better or worse. I'll give it 3 stars anyway because I do like the album title.

Apparently it changed rock'n'roll forever, but it's all covers... Pleasant enough to listen to though. Fella's got a good voice. I give it a treasonous 2.5 stars.

Some of the tracks feature a particular brand of generic 80s production that depresses the hell out of me and I instantly thought we were in 1 star territory. But I listened again and realised that was a bit harsh. The songwriting seems pretty strong and there's more going on than I gave it credit for at first. Faron Young and Goodbye Lucille #1 are good choons. 2.5 stars.

So. Very. Proggy. One day isn't really enough to get my head around this, there's so much to unpack. On paper it could easily be terrible but I think I actually quite like it. It's ambitious and cinematic and quirky, and there are sections of music I really got into for a moment... before the album took yet another left-turn into a 4 minute instrumental bridge or folk interlude. Also, shout-out to Philip Collins for the best drumming performance on the list so far.

First and foremost, it's great to see Nelly Furtado make an appearance on this list. I enjoyed the album, especially the more 'bandy' tracks like The Seed, but the variety was welcome too. The jazzy weirdness of Something In The Way Of Things sounds like something Kendrick Lamar would do these days (yeah that's right, I'm a hip-hop expert). A solid 3 or even 3.5.

Is this only because I haven't given a 4 star review in ages? Probably. But I'm sick of giving 3s and 3.5s. A solid collection of pop'n'rock'n'rollers with catchy melodies, enthusiastically sung. And some days that's enough, y'know? The generator spitting out 'Welcome To The Working Week' on a Monday morning was a lovely touch.

I don’t know where these vampires came from, but I sure do like their vampire music. 3.5

Always a pleasure to listen to this. The generator will have to get up pretty early in the morning to find a better opener/closer combo than Five Years and Rock ‘n’ Roll Suicide. And then there’s Moonage Daydream, Ziggy Stardust, Suffragette City, Starman… Let all the children boogie, I say.

Hmmm. At first I thought this group was gonna sound like an early Bloodhound Gang, but then it seemed like they were trying to make the album Napalm Death were about to make that same year. They bottled it though, by including a couple of actual tunes and a bit of musicality. I listened to some of their later stuff and it's a LOT more accessible - a little like an early Bloodhound gang...

It was quite hard to take this seriously at first as it sounds exactly like a Look Around You parody of early rap. I’ll all for a positive message but the song about wanting to meet Stevie Wonder is a bit… odd? By the time it reached the title track though (and some of the expanded edition extras) it seemed like Flash had figured out the genre and laid a bit of a blueprint for socially conscious rappers of the future. Includes some probably-very-influential hip-hop production too.

I gave Spiritualized a quick go a few years back and remember the songs being spacey and dreamy but forgot how noisy they are too. I guess to build these giant soundscapes and moods you're gonna sacrifice a bit in variation and song structure - which isn't ideal when the album lasts 70 minutes - but there are also times when it really hits the spot. Definitely worthy of a place on the list, I can't think of another album that combines the orchestral elements, band elements and general noise in the same way.

Probably on album I actually appreciate more now than at the time - maybe because of the music they make these days? The hooks are strong and the bass and guitar parts compliment each other nicely. Don't Panic and Shiver are underrated early singles. There are hints (Everything's Not Lost) of Coldplay becoming *too* bland, and the lyrics too banal, to really enjoy, but in general I don't mind of bit of melodic soft-rock. It's not a masterpiece but it remains one of their better efforts. 3.5. Deal with it.

It's in the same vein as a lot of my favourite music from the past decade so no surprise I enjoyed this too. I'm not sure it's necessarily better or more important than other similar albums that probably aren't on this list though. 3.5.

I love the really classic western songs like Big Iron and The Master's Call, and the fact that Robbins wrote these is a bonus. Even the more pedestrian, country style tunes are carried by good storytelling, strong lead vocals and nice harmonies. My favourite 50s album so far!

I like Elvis' music, but I think he's more of a singles guy... I preferred the mix of styles on this one to the debut but it's another 2.5.

Iconic title track, but most of the others are a bit generic. Reliable, grizzled, up-tempo hard-rock that's fun for a while but very samey.

Maybe a little generous but I was surprised by how much I enjoyed this. Fascist Groove Thang is great and although it lost me around tracks 3-4, the likes of Let's All Make A Bomb and The Height of the Fighting hooked me back in. It's very 80s in some ways but also still manages to sound futuristic to me.

Couple o' nice grooves, but it mainly sounds like some folks jamming/fooling around in the studio. Which is fine, though I wouldn't say it makes for a 'great' album.

Never really listened to Marilyn Manson before - probably too creeped out. Maybe if I'd got past that as an impressionable teen I would've really bought into the whole package, image & disturbing lyrics and all, but that ship has long sailed. Having said that, strip away the shock and the music's pretty good. Some angsty heavy rock anthems but also a few surprising left-turns and inventive sounds (thanks Trent Reznor, I guess?) 3.5

Got the feeling from listening to this (then reading about it) that this is a good rather than a great Public Enemy album. The very 90s production is a bit relentless - makes it hard to pick any standouts after the first couple of listens. Also, some of Chuck D's verses seem to go on for about 3 minutes... which is impressive, but again, a lot to take in in one day.

Fairly standard MOR rockers, some better than others. 'Legs' is a nice change of direction, and I'm fascinated by the fact they stopped thinking about sex for just long enough to write a song about TV dinners.

There’s nothing as good as Teenage Kicks on here, or anything that stands out as a ‘must hear’. It’s not bad though. Most memorable moment: “He thinks that I'm a cabbage / 'cause I hate University Challenge”

It deserves to be on this list as it’s a pretty unique sound, even now. The spidery guitars and unnerving vocals make it all very tense and atmospheric. But do the spoken vocals really need to be so quiet?? It takes physical effort to hear what’s being said, which is annoying. 2.5 stars.

Ah, childhood memories. I've got so much time for Supergrass, especially the first two albums. It's always catchy but also at times heavy, quirky, sophisticated, and most of all a lot of fun. A band who really knows the power of a good chord change. The guitar solo on Late In The Day is an all-time favourite - always makes me smile/shiver. 4.5, but I'm rounding up this time (nostalgia bias innit).

Fleet Foxes are a band I think I should like but have never really managed to get into, aside from a few songs here and there. It's clearly a cohesive debut album and nice enough, but I found it pretty bland and not very memorable. Maybe it would reward further listens? 2.5.

I didn't properly appreciate Nine Inch Nails until a few years ago but I now think they/he are excellent. The sound design is always first rate. There's a lot of noise but that's usually underpinned by a strong groove or melody. Definitely music to get lost in. And obviously it's bleak AF, so there's points for that... I'll give it a 4 or 4.5. I don't think it maintains the same quality over the whole 65 minutes, but then it isn't easy to match classics like Closer and Hurt.

More smooth 'n' soulful that I was expecting. Not entiiiiirely my cup of tea but it's got a kind of classic feel about it. Is Glad Tidings supposed to sound so much like Brown Eyed Girl...?

Starts strongly - I think Gimme Shelter is probably the Stones' best track. Then it goes kinda country for quite a while before Monkey Man ushers in a strong ending. I enjoyed it, but not sure what sets it apart as an all-time classic. Maybe the album art? 3.5

Not familiar with this one. It seems to be in the same style as Disintegration (long, dense, brooding tracks that don't offer a lot of variety but are big on atmosphere), though not quite as good. File under 'need to be in the right mood to get the most out of it.'

Hearing a couple of these tracks on an 80s movie soundtrack or in a karaoke bar is all very well and good. A whole hour of them is a bit much though. 2.5

Urgh. I'm never sure how to rate live albums. There are a handful of top-tier Thin Lizzy bangers on here that deserve recognition. The transition from Cowboy Song to TBAIT is *chef's kiss*. Then there are half a dozen tracks that are kinda forgettable (though I prefer listening to this band's 'forgettable' over most 70s rock bands' 'forgettable'). I gave Live at Leeds 3.5 and I think I enjoyed this more. However, it's not all recorded at one show (and apparently there's some debate about how live it is in the first place), so that spoils the experience a bit for me. Another 3.5 it is then.

I know Billy Bragg a bit but Wilco and Woody Guthrie very little, and I definitely didn't know these albums existed. So this was an interesting little find. I really enjoyed a few tracks (mainly the Bragg compositions). Way Over Yonder in the Minor Key is my highlight.

Very thoughtful of the generator to remind me of my age on my birthday. It's wall-to-wall pop bangers, innit? Over time I have come to first accept, and then welcome, the reign of our new all-powerful country/pop/indie-folk overlord. Some of her other albums lack consistency but most of these tracks sound like hit singles.

There doesn’t seem to be much that’s special or interesting about this (apart from the couple of tracks featuring horns - definitely under-utilised!) so I’m not sure why it’s on the list. That said, I didn’t dislike it in any way; it’s decent for what it is. So that means… 2.5? 3?

I was introduced to this as a child and still listen to it regularly, especially on hot summer days. The lyrics are great and the music is joyous, and it still sounds fresh after all these years. The blend of African and American music was clearly very influential on future artists.

I've always thought there was a disconnect between the Stone Roses' lad-rock following and the kind of music they actually made. I also thought they were largely overrated - just accomplished musicians with a few good tunes and a few dull ones. That may still be true, but I'm happy to concede that this is a strong album. I still think I Wanna Be Adored and I Am The Resurrection are clear stand-outs but the jangly stuff in between has grown on me too.

Nice enough. Can see how the vocal harmonising on songs like Love Hurts would've influenced The Beatles. Though I get the impression that even when this album was released it wasn't particularly groundbreaking.

An album built on a foundation of traditional rock'n'roll, but with added minor chords, pop hooks and rougher edges. Mark these boys as 'ones to watch'.

I've heard big things about The Band but only ever knew The Weight (which is worth a couple of stars on its own). I didn't realise they wrote This Wheel's On Fire too, though I think I prefer the Julie Driscoll version. Also, I listened to In A Station while in a station, which I think is commitment to the art. The musicianship is strong and it's got a rich sound, very evocative of the late 60s. But it doesn't have enough about it to lift it above the 3.5 masses for me.

There's something in the instrumentation that compliments the subject matter perfectly. That autoharp has a ghostly quality about it that makes me thing of old-timey soldiers trudging off to war, and rugged, wintry English countryside. Not every track is a galáctico (The Last Living Rose and On Battleship Hill are my favourites) but as a self-contained album it's more the sum of its parts. 4.5.

I think this still holds up well. A few lines are a bit clunky but that was probably always part of the appeal anyway - Alanis laying her individuality and attitude out there, no effs given. And there are some cracking 90s alt-rock tunes to boot. 4.5, but I'll round up. It's what my sister would want. Also, I've just found out Flea features on this record. Every day's a school day.

I'm a fan of Tom Petty's brand of no-frills heartland rockers, but there aren't too many bangers on here, except for the grand daddy of all Petty bangers at the end. And maybe Breakdown.

Blimey, Aerosmith have been going for ages. This wasn’t half bad actually, entertaining and more varied than I expected. 3.whatever.

I grew up listening to 'The Police - Their Greatest Hits' so I'm well familiar with Every Breath You Take, King of Pain and Wrapped Around Your Finger. These are Good Songs (the first two especially) and put a couple of stars in the bank early doors. But what about the rest of the album? Well, Kent, it's a mixed bag, both in style and quality. Synchronicity I is a good start. Then there's a song about dinosaurs which, it seems, heavily influenced the Dino Dino Jungle soundtrack in Mario Kart. There's some 80s funk stuff, a jazzy number to finish, and 'Mother', which is a real contender for the most mental track the generator has thrown up so far. Andy Summers, you weirdo! Predictable it ain't. But, all in all, not nearly as good as the greatest hits. EDIT: I've listened a couple more times. Now trying to decide if it's actually a work of genius. Well, is it?? 3.5

I know this is usually the LZ album that appears on 'greatest albums' lists, but I didn't realise just how many classics they crammed on here. It's also a good touchpoint for a lot of their different styles: rocky, folky, bluesy, Stairway to Heaven-y. It's not perfect but it's still worth 5 stars.

I wanted/expected to rate this higher but can't quite justify it. For every well-crafted country nugget like Heart of Gold or The Needle and the Damage Done there's a meandering plodder that just doesn't excite me. The closing track is nice though - there's half a great album here...

John Prine was clearly all about the lyrics, and it's evident from a couple of listens to this that even as a young man he was a cut above most other writers. There's empathy and humour and some knockout couplets, plus he tackles more interesting subject matters than your average schmuck. Musically it's very pedestrian though and while that helps to bring out the words, I can't honestly say it's an album I will keep coming back to. A respectful 3 stars.

Apparently this was *the* first album of the whole gloomy, post-punk genre, so kudos (and an extra half a star) for that. Would've preferred if they leant into that weirdness even more though - half of it sounds like plain ol' regular punk. I liked: the hypnotic 5/4 groove of Overground. I disliked: the Helter Skelter cover. Doesn't work imo. 2.5

More musical value than Napalm Death. Less comedy value though.

Underrated band. I prefer the darker sound of Gran Turismo but this is a decent album too. Sweet, smart, sugary Swedish indie-pop goodness, and they've put some effort into the sequencing too which hasn't gone unnoticed by this reviewer.

A smorgasbord of mega choons: Purple Haze, The Wind Cries Mary, Fire, and (my personal favourite) Hey Joe. Some definite filler, especially if you include the bonus tracks, but there are extra points for this album's undoubted influence on the history of guitar music. 4/4.5 - that sort of thing.

I have it in my head, rightly or wrongly, that Frank Sinatra was a bit of a douche, but I'll try not to let that cloud my judgement. Pros: His voice is pleasant and I enjoy the big band flourishes. Also, it made me feel appropriately festive despite not being a Christmas album. Cons: Each time I listened I lost interest by about halfway out of sheer sameyness. And as with Elvis, I just can't bring myself to score an album of covers very highly. Plus, I think Sinatra might've been a bit of a douche? 2.5

So there IS a studio version of No Woman No Cry! I do like a bit of Bob. This particular album didn't do that much for me at first, though I got into the groove a little more with each listen. Might revisit one day.

I really, really don't get along with this type of music. I won't give it one star because 'Sweet Love' is a good song and because objectively it's probably not that bad... it's a close-run thing though.

Incredible that in the same year as Bowie's Blackstar another legendary artist released an album days before his death, apparently in the knowledge that it would be his last, and delivered it with such poise. Both the darker and the more soulful numbers therefore come with added gravitas, (helped by Cohen's badass old man voice ofc), and his gift for dispensing great wisdom in pithy phrases is evident throughout. 'As he died to make men holy, let us die to make things cheap'. Yep. 4.5

When I was a lad, and failed presidential candidate West was just a rapper and producer, I bought the Twista album which also had Slow Jamz on it. That album is rightfully nowhere near this list, and I probably should've bought this one instead - it's much better. Plenty of good tracks that seamlessly skip between styles and themes. The album goes on too long, but as it's Christmas week I'll still give it 4 festive stars.

I was with friends in a Wetherspoons in Bristol when a large, middle-aged man with earphones in came and sat next to me at our table, uninvited. After a few uncomfortable minutes I asked him what he was listening to. He leaned over and said 'We Are The Pigs', before sticking one of the earphones in my ear. That was my first introduction to this album, I guess. Anyway... I used to mistrust Suede for no particular reason, before getting into them in my mid-20s. This album isn't their most britpop-y or accessible - it's darker and more cinematic. 'Stately', I'd say. I like the abrasive guitars of WATP and This Hollywood Life, and the melodic The Wild Ones. Stay Together is the best of the bunch though I don't think it's technically part of the album... Actually I like most of it, but I can see that it's a bit overblown and does drag somewhat, especially towards the end.

SHOCKED to discover there's a Pixies song longer than 5 minutes. It's an entertaining listen for sure, but I wouldn't say an essential one. After releasing Doolittle the previous year it feels like they might've phoned this one in juuuust a little. 3.5.

More sitar-y than that album that was entirely sitar, somehow. Had high hopes as Donovan created some of the grooviest tracks of the swinging 60s; bit disappointed he didn't tap into those vibes for the whole album. Too much of a free spirit, I guess. 2.5

I'm starting to have doubts that the generator is as random as it says it is... I ain't gonna be no Scrooge McDuck about this album, it's good old-fashioned festive fun for all the family. A few of these recordings still seem to be the definitive versions that get played nowadays.

First few tracks seemed a bit meh. Then 8 and half minutes into the title track I realised that actually something a bit out of the ordinary was going on, and enjoyed the rest of the album from that point. I can believe that in 1977 this was a bit of a game-changer for guitar music.

Always liked Simon & Garfunkel but was still surprised by how much I enjoyed this, given they have other, better regarded albums. Good melodies, good harmonies, good lyrics. More up-tempo stuff than I expected. Traditional folk but still buzzing with creativity. Feelin' Groovy is a childhood favourite of mine. A very pleasant way to spend 28 minutes.

Bit of fun innit - something a little different. Some infectious grooves and I find the accent quite endearing.

Another hair metal album that treads the fine line between enjoyable and crap. It's My Life is my Bon Jovi guilty pleasure of choice but You Give Love A Bad Name is a close second. 2.5 / 3

More mellow than the Aphex Twin I thought I (vaguely) knew. Inoffensive, and some of it's very pretty (Xtal & Heliosphan stood out), but I can only really imagine playing the whole album again as background music. If it came out today (and it sounds like it could've done) it'd be a 2, but 30 years ago it must've been pretty revolutionary, so am considering a 3 for impact. Let's say 2.5.

I like the two biggest singles, I like the album name/art, and I like that Neil Finn was in Flight of the Conchords, so I was ready to enjoy this, but the album as a whole didn't do much for me. It's well-crafted soft rock but lacks a bit of edge. 2.5 / 3

This album was once recommended to me by a friend with good music taste, but I either didn't listen or just couldn't get into it (sorry James). Let's try again, shall we? The Manics have some great hit singles but none of them are on this album... after 3 listens I still can't replay any of the songs in my head, which speaks to a lack of hooks. Still, I like the energy and the industrial/grungy feel to the guitar work, and I enjoyed the music more and more with each listen. Haven't properly delved into the lyrics which are supposedly the strongest part of the album (they're not easy to make out, to be fair), but I am at least starting to understand the hype now.

A thought I had: The Flaming Lips make music for children. Not saying there's anything wrong with that, or that you need to be a child to enjoy it, but the squelchy bass, pretty soundscapes and gentle/surreal lyrics sound tailor-made for kids (maybe that's psychedelic music in general to some extent, but this band in particular). At first you think they're being ironic somehow but they're not, and I guess that's part of the appeal. Anyway, it's another record I wanted to love but ended up just liking. It's less of a concept album than I expected, and more instrumental. Do You Realize?? and Yoshimi pt.1 are great. The rest sounds lush and dreamy but the songs aren't as strong. 3.5.

Look, it's Dylan! And he's gone electric! This felt a bit like Let It Bleed - a classic 60s album with an absolute all-time worldie first up, another big hitter at the end, and a lot of ordinary stuff in between. But actually I reckon there's more killer than filler here. Ballad of a Thin Man is a welcome change of pace, and the title track is fun (I like the extended gap after 'Let me think for a minute son...'). Plus it's always engaging to listen to a Nobel Prize winner spit his verses. Even when I don't know what he's talking about, Bob sounds like he does, at least. As with the Stones, I hope the generator can show me a better Dylan album. But if this is the best, that's still pretty good. I will re-revist this highway in future.

Absolutely zero prior knowledge of this group or album, so I got to go in with no preconceptions whatsoever. What a treat. I could mark it down for being a bit long or cheesy or God-y, but it's too damn joyous and too damn catchy. Didn't expect to be grooving along to a track called Fishin' 4 Religion today, but here we are. 3.5 (includes a discovery bonus of half a star).

Fell In Love With a Girl is a rare song that I'd always listen to whenever it came on shuffle. It's a lovely booster shot of adrenaline to complement all moods. And also too short to bother skipping. Speaking of which, Little Room is ace too. Dunno if it's just the limitations of a 2-piece band but listening to this I noticed l that Jack White reuses a lot of stuff. Like, there are really specific guitar parts that appear again in later songs. Can't say it ruined my enjoyment though. Feels like there's some filler between the gems but it's good filler, you know?

Will this be the album where I finally get the hype around The Rolling Stones...?? Nope. 18 tracks and none of them really excited me. Shine a Light at a push. It's all fine, if you fancy an hour of competent bluesy rock & roll, but 'competent' alone will only get you 2.5 stars, tops.

Band name and album art were vaguely familiar but the music was all new to me. Funky fresh, inventive blend of electric, acoustic, orchestral, world music etc. Really picked up momentum at track 4 - would've enjoyed more tracks with the female vocalists. Less exciting second time round once the thrill of the new had worn off, but I still appreciate the creativity.

A few good moments from the self-styled 'Morpheus in this hip-hop matrix' - he seems like an engaging lyricist (and so does his dad, actually). But overall I found it a bit of a slog to get through. The production was too one-paced and muzak-y for my liking.

Enjoyed this more than many of the 70s/80s rock albums we've had so far. It's got a kind of wide-eyed, dreamy quality that I quite like - probably because of some sweet harmonies and chord changes. And crucially, at 37 minutes, it doesn't outstay its welcome. 3.5.

It's nice to put a sound to an iconic name of the big band / jazz world. Not my usual genre but I quite enjoyed it, especially the tracks where the bass skips along at a good pace. It all sounds very neatly put together. I'm a fan of the album cover and the cute track names too.

One of those influential bands I keep reading about but I've not heard much of their work. Whenever I do, I'm always surprised it's not some heavy gothic rock music... I don't think it's really for me. Some nice foot-tapping bits but 'nice' is about as far as it goes - I found it fairly bland. Supposedly they meld lots of disparate genres but maybe the whole is less than the sum of its parts?

'Honey' is decent off-kilter pop, but after that it was as I feared - schmaltzy ballads and aimless R&B. Good voice but boring music that drags on too long. Not irredeemably bad, but In the context of the 1001 most essential albums, for my particular tastes, this is near the bottom. 1.5

Possibly my favourite album. It's hard to describe how it makes me feel without sounding pretentious, so I might as well lean into it... For me, it's like an escape into some time and place that probably never existed (between the click of the light and the start of the dream, you might say). Rustic and intimate yet also epic and ethereal. There's an earnestness to the the lyrics that lends extra power and purpose to the oh-whoa-whoa singalong bits. They come across a bit like they're preaching the views of some cult, but one whose cause I can really get behind. Laika and Power Out bring a chaotic energy, like punk if punk was invented 200 years ago in Central Europe. Tunnels might be the most romantic song I've ever heard, in some strange way. And Rebellion is the best of the lot - that string/vocal melody in the outro is one of my all-time favourite bits of music. Also, I reckon In The Backseat is their underrated masterpiece. Love that portentous guitar chord at 2:25, and the way the track diminishes to just a whisper at the end sounds like being left alone with your thoughts after everyone leaves the party, or life continuing after someone has died. Which is what I believe the song, (and most of the album), is about: life, death, and the struggle to hold onto childhood innocence as you get older. Saw it performed live once but loads of people talked over it. Ah well, it's only music innit.

Enjoyed this a lot - sultry latin vibes for a cold winter's weekend. Whenever it threatened to get a bit samey he'd chuck in a louder or softer number to keep things fresh, or sing in a completely different language just for the hell of it. Earns its fourth star for absolute commitment to the album format - I don't think anything else on the list so far has flowed so seamlessly between tracks.

When I saw the tracklist and didn't recognise anything I wondered if this was their avant-garde concept album or something. Turns out it's more very-European pop that sounds a lot like the ABBA I know, but maybe 5% less kitschy and a bit more mature. Thought I might get bored but I didn't - there are some strong melodic hooks and lush production, as usual. They're masters of their craft, undeniably.

Tunes were good without being special. The blend of genres was kinda interesting though, especially mixing metal-style shredding guitar with more primitive punk. Can hear the influence on a lot of 90s rock bands.

Extended funk jams aren't really my bag. Funk in general is only occasionally my bag, as controversial as that may be. Soulful pop classics like Stand! and Everyday People are more my bag. The album certainly *feels* like a classic and I do like it for the most part. 3.5 seems about fair.

Air deserve to be on this list, but a film score is an odd choice, no? I mean, I can see why they'd be chosen to score a film... Their dreamy/creepy atmospherics sure do sound like they could be in a film... But I haven't seen The Virgin Suicides so I can't know for sure how well these tunes work in that setting. In album form they're kinda interesting but don't seem like a must-hear. I'll give it a middling 2.5/3, BUT my interest has been piqued to go and watch the film ASAP. Once I've done that I reserve the right to adjust my score accordingly...

There are two pretty-much-perfect pop songs on here, which is a great return for any album. In fact I'd say the whole first half is shiny synth-pop gold - the kind that makes me think 'Cor, wouldn't it have been great to grow up in 80s America and hang out at the mall all day...?!' The quality dips a bit towards the end though.

The next two Gorillaz albums are better, but I guess this one's included for cultural significance. When I first heard it I remember being surprised by how many tracks seemed more like sonic experiments than fully formed songs, and I think that's true of the band as a whole at this point: an interesting experiment that would become more well-realised over time. The eclecticism was there from the start, though; I love 5/4, Tomorrow Comes Today & Slow Country for very different reasons. And I reckon Clint Eastwood remains their 'definitive' track - it still sounds fresh today. A fun, quirky listen: 3.5 stars.

I've never heard of this man before, but I'm glad to see he's still alive. There's yodelling and songs about weevils - it's hard not to be at least a little charmed. Plus, the recording is *so* primitive and the chat *so* typically old-timey, it has to be the real deal, right? 2.5

So 'Planet Rock' was just a name, huh? At least 'Go Go Pop' and 'Renegades of Funk' weren't lying to me. Like Grandmaster Flash, this sounds pretty dated now, but the artwork is great, so: 2.5 stars. I hope they find that perfect beat one day.

5 tracks spanning an hour is a big ask for my millennial attention span. Can't doubt the technical proficiency on show (I didn't hear a bum note or missed beat, despite there being many notes and many, many beats), but all that jamming over the same basic grooves gets a bit tiresome. Enjoyed it as background music though. It's another 2.5, but as a drummer myself I'll pay respect to two giants of the drumming world and round up.

This had the feel of an old country singer deciding to embrace the music of the time and making an epic, psychedelia-tinged opus (I had no idea he was part of The Byrds). Pretty good on the whole; the title track and Lady of the North were my highlights.

Middle-period Cohen: masterful songcraft dressed in the tackiest 80s production. I can see why it took a Jeff Buckley to get Hallelujah the credit it deserves. But you know what, I'm charmed. It adds a (deliberate?) layer of absurd humour to the whole thing. And anyway, there are a handful of 24-carat classics on this album (Everybody Knows, I'm Your Man, Tower of Song etc). Leonard you horny devil, you've done it again.

Weird, John Cale's name came up yesterday. Can't remember why. This had some very nice orchestral chamber pop (is that the term?) moments. I think it's good, but for some reason it didn't truly grab me. Second listen was more enjoyable than the first and third... maybe it requires a specific mood? At the moment: 2.5

I've listened to this maybe once in my life before now so wasn't sure what to expect beyond the hits. Happy to report that the rest of the album is pretty decent - side A is great. Nearly every track could arguably be shorter but overall it's solid stuff. Interesting to read that it got panned on release (though this was partly for sounding the same as previous DS albums, which I'm not in a position to judge... yet. I'm sure the generator will enlighten me in time.)

I've not heard much Joan Baez but this album feels very familiar. The style of singing, the acoustic guitar accompaniment, and even a few of the songs are very much a part of my youth. Joan's voice is better than most of the stuff I grew up with, though, and some of the fingerpicking hits the spot too. When they mesh perfectly it's really enchanting. I'm not above getting a little bored though, particularly in the middle part of the album. I'll relax my 'low marks for all covers' policy a bit as it's sort of the point of the whole folk tradition...

This album surprised me a bit. I didn't expect to hear Noel Redding singing or a skit about aliens, for starters. Then there are some poppier tracks than on the debut, and also some more soulful tunes that clearly inspired John Frusciante etc (Little Wing, Bold as Love - these are the highlights for me). One Rainy Wish was my favourite new discovery. Lush. 3/3.5

I liked it but thought I'd like it more. It might be the height of 90s cool but the songs are inconsistent - all are fine, some are good, only a couple are great. Waking Up is a tune though and I fully endorse the sentiment: not easy, never has been.

It's alright, but I've never really rated The Charlatans - I guess the clue's in the name. They sound like an inferior version of a lot of their contemporaries (Stone Roses, Oasis etc). It's only the piano/organ sounds that really distinguishes them. 2.5

Fun album. Lots of recognisable samples and carefree, laid back vibes. 90s hip-hop can be a bit of a time capsule but this feels like it's aged well, and I'm intrigued to listen to the follow-up someday. It has put me right off my ham and eggs though. 3.5.

Poor Merle sounds a little...... haggard. Dunno what he was so heartbroken about, he'd just married Buck Owens' ex-wife! Generatorland is a small world indeed.

This is how I like my blues: loud 'n' raucous (Mannish Boy is Exhibit A). Can't've been revolutionary in '77 but it sounds like a real fine example of the genre nonetheless. Held my attention pretty well throughout the duration. 3.5.

Queen are an incredible singles band but I'd heard that their albums weren't up to much, so I was surprised to see a record featuring none of the mega-hits make the list. Quite interesting. All the ingredients of the classic Queen sound are there, but it also seems like they were considering becoming a fantasy-prog-metal band instead.

The sexiest commute to work I've ever had.

Thought this would be an easy 2 stars after a slow start, but I actually quite enjoyed it by the end. Not revolutionary, but some good tunes. It bridges the gap in time between The Smiths and 90s indie (like James maybe?). Kept expecting them to break into Breakfast at Tiffany's though... Very aware that I've just given a Marvin Gaye album 3 stars and this seems a lot further from greatness than that, so... a strong 2.5.

I don't consider myself a Jay-Z fan, particularly, but I thought this was decent. Could definitely hear the Kanye influence on production after I read about that. Lyrically it's the usual braggadocio etc which doesn't do much for me, but as far as that brand of rap goes, he's pretty good at it. Takeover is a great diss track. 3.5

This came out a year or two before I properly started following indie music so I can't verify exactly how huge its influence was, but I'm willing to believe it was pretty big - its presence certainly loomed large in my school & uni years. The languid Is This It and the sprightly Someday are my two highlights, though listening back now there are a few forgettable tracks that I can *ahem* 'take or leave'. The difference in quality between this and their later albums isn't as great as common opinion says, IMO. Still, it's worth at least 4 stars.

Nice to become acquainted with another of those hipster bands listed in that LCD Soundsystem song. It sounds years ahead of its time and I found the frontman really engaging. Fun lyrics and some decent tunes too. Downgraded slightly after the second listen as I realised only a few tracks (Pablo Picasso, Hospital, I'm Straight, maybe a couple of others) had properly grabbed me.

Enough decent grooves to get my head bopping along on a sunny day and enough individuality/invention to justify its place on the list, but probably not enough of either to compel me to come back to this. Pleasant background music: 2.5

More Siouxsie! Twosie. Sounds like they've refined their sound since The Scream - more melodies and more guitar effects. More to like, basically. Into The Light is great and Monitor is a decent rocker. It does descend back into tuneless noise again towards the end though.

Enjoyable trip-hop, though lacking the really killer tracks that other bands of that genre & era produced. A good education though; I was never really sure what the relationship between Tricky and Massive Attack was but I think I've cracked it now. Also, Martina Topley-Bird nearly never recorded with MA, but was basically Tricky's lead singer, which I certainly did not know. Learning every day.

Preferred the organ-heavy bits over the more 'traditional', sax-led jazz bits. They made me feel like I was in some dreamy, low-jeopardy spy film scenario. But (with the obvious caveat that I'm no expert in the genre)... most of it kinda sounded the same to me. It's the usual drill: an enjoyable diversion for a while but I probably wouldn't go back to it. A neutral 2.5.

Two stars for Jamming, which reminds me both of The Simpsons and my one trip to the Caribbean as a kid, where Bob Marley still seemed to be the most played artist, 20 years after his death. One star for the ultimate feel-good good feelings of Three Little Birds and One Love / People Get Ready. Another star for the darker, more purposeful grooves of Natural Mystic, The Heathen and Exodus. Half a star for the total disregard of grammar on 'So Much Things To Say'. That's 4.5. And I'll round up because Bob was a Spurs fan.

Was expecting some straightforward noise punk, but was pleasantly surprised by the creativity on show. It's got a bouncy, mildly chaotic energy about it that I like, and it sounds like it could've been released in the 00s. 3.5

Liked a couple of tracks but struggling to see why this album made the list. Mostly pretty standard rock; not as interesting as Toys In The Attic.

It's somewhere between Joy Division's mechanical gloom and The B-52's' quirky yelping. Admittedly that sounds like quite an eclectic mix, but having heard quite a few albums of this era now I'd say other groups seemed to be doing similar kinds of things at around the same time, but slightly better. The title track was my favourite. 2.5

Contains some good stuff, but I don't think an album of swing standards/crooner ballads is the best use of Ray Charles. Some of his other songs show off his voice better, and have a more distinctive musical style too. Feels like you could sub in a Sinatra or whoever onto this record and the result would be pretty similar. 2.5

Enjoyed this. A great voice and some very decent songs to match. Even snuck a 2Pac cover in there. By most accounts it's not his greatest album, which bodes well for some of the others. 3.5

Probably my favourite soul album so far. The music has a lightness of touch that feels so chilled and organic. Old Time Lovin’… *swoon*

I think this was my first time listening to New York Dolls, though the name was very familiar. Fun, boisterous glam-punk that kept me entertained. Was about to add something like 'decent but nothing revolutionary', but then I realised that it almost certainly was, at the time.

While I am impressed that she fit so many Missy Elliott exclusives on there, I didn't love the album. I did quite enjoy Slide, Funky Fresh Dressed, Back in the Day and Work It, and also the monologues. Bit of a tearjerker when she addressed the haters with 'you may not think I'm a real hip hop artist...' I DO think you're a real hip hop artist, Missy!! But I'm still giving Under Construction 2.5 stars.

After Florian Schneider died a couple of years back I explored Kraftwerk's catalogue and a bit and became quite fond of them. They clearly influenced loads of artists (how did I not notice the Daft Punk resemblance until now?) but their particular retro-futuristic quirks still sound unique. This being their seventh album means it can't have been as revolutionary as the earlier stuff, but it's more refined, contains a few of their biggest hits, and still sounds way ahead of its time.

I had this pegged as the metal connoisseur's Metallica album of choice, whereas I'm more of a casual Black Album / 'greatest hits' kinda guy. I enjoyed this more than expected though; I thought it'd be mostly thrashy stuff but there's plenty of variety. Orion is a great case in point. A strong 3.5 from me.

The Eminem Show was the album that got me into rap as an impressionable pre-teen, so I may be biased, but I still think that's the more consistent, better album and it's crazy that it hasn't made this list. Anyway, this one is close behind. He switches between so many voices (literally and figuratively) so effortlessly - the biggest singles (Stan, The Real Slim Shady, The Way I Am) sum up Eminem's depth, humour and anger respectively, and they all work equally well. There are undoubtedly lyrics on here that are genuinely problematic, but there are also a lot that aren't - they're cartoonishly OTT or satirical or playful -and that's why he gets away with the whole package, in my opinion. Every topic is pushed to its limits, but it's not *just* designed to shock - there's a lot of truth spoken too. So the lines between sincerity and facetiousness are blurred, which just makes the whole schtick (or is it...?!) very compelling. 4.5

Charming little villages of sound.

Apparently very influential in the Satan-bothering metal scene. Not sure if that's really something that deserves respect though. Didn't hate it but it all feels a bit route one, and the production sounds less 'unpolished' and more 'unfinished'.

Didn't realise The Stooges were active in the sixties; maybe for its time this was quite fresh and interesting. Today, the cool, scuzzy vibes aren't really enough to make up for the lack of actual songs - most of 'em just sound like basic jams. And I'm an Iggy fan.

I'm a bit indifferent to GNR and their particular brand of cock rock, but most of their biggest (and I'd argue all of their best) tunes are on this album. The album tracks are more killer than filler, too - just about. A slightly overly long time, but a good time.

Wasn't sure how enthused I'd be about a Stranglers album without Golden Brown on it but I thought this was very good. The emphasis on organ and bass add so much to the standard punk sound, and there are hooks aplenty. 3.5, but I'm feeling more generous these days so I'll round up to a 'IV'.

Slightly less heavy and a fair bit more punky than expected (I think the vocal style contributes heavily to both these things), but otherwise it's pretty standard metal. It's fine while I'm listening to it but I struggle to remember it at all afterwards.

Flips between chilled, goofy old school hip-hop and 90s gangster rap so the guy's definitely got range, but none of the styles did that much for me. Bonus points awarded for that track where he shoehorns in all the cereal brands. 2.5

I was pleasantly surprised by this. Guitar and vocals are very melodic and it doesn't feel like there's too much flab on the album - it's just a lot of fun. Iron Maiden might have a new admirer. 3.5 / 4

Superstition is an absolute powerhouse of a track, and its squelchier, weirder cousin Maybe Your Baby is pretty great too (are they pitch-shifted vocals I can hear, before they were cool...?!) There are a few other neat bits and pieces but a lot of it is too saccharine for my tastes.

My first time giving this a spin, and I mostly enjoyed it. The first few tracks are nice and theatrical and set the scene well - much like the start of a musical, which I guess this pretty much is (didn't realise See Me, Feel Me was originally more of a recurring theme than it's own track - another musical theatre trope?) I like the really short tracks (they help a lot with plot exposition) and always have respect for ambitious concept albums, especially groundbreaking ones like this. I'm not sure the individual parts are strong enough to keep me coming back to listen to the whole, though, especially when it's so long. 3.5

I remember this being praised when it was released but never gave it a listen. Earnest old-timey crooning (with a slightly modern sheen) that clearly influenced Alex Turner. Might be a bit top heavy? Either the best tracks are in the first half, or I just got a little weary of it towards the end. Or both.

I can tell it's 'good'; the musical style is rich and exotic and self-assured, Joni's lyrics are always worth listening to, and I'm sure it would reward repeated listens (especially while road-tripping across America). But a chorus or a hook once in a while couldn't hurt, right?

Pretty sure I played some Coltrane when I was learning the saxophone, but nothing as frenetic or technically impressive as this. I kinda like it but it doesn’t move me on an emotional level. It’s getting the token neutral jazz score of 2.5.

This layman’s opinion on Beach House was that they have a great, unique (and therefore list-worthy) sound, but not necessarily many great tunes to match it. Did this album change my mind? Maybe not, but on this particular day its dreamy vibes proved to be the perfect soundtrack to my walk. I’ll give it a hearty 3.5 stars.

Not listened to these chaps before but fair play, it sounds like the 90s alright. I guess the manic, discordant tracks are more ‘interesting’ but the tracks with a bit of melody, like Homemade, are more enjoyable. 2.5

Yusss. It can take a while to ‘get’ Randy Newman or take him seriously, but once it clicks it’s worth it. There’s humour. There’s satire. There are piercing home truths and humdrum observations side-by-side. There’s a blend of orchestral/New-Orleans-y ragtime pop that you don’t really get from anyone else. I think what I like most is that while his default position might be mockery, I reckon there’s plenty of affection and sincerity too. There are enough classics here to guarantee a 4. Does the rest of the album push it into genuine 5-star territory? I’m not sure; but as a devout Randy fan there was always going to be some rounding up involved. Wish he’d stop cancelling gigs I’m supposed to go to though.

Kinda fun voice recordings & kinda interesting beats. But it definitely falls under ‘nice background music’ for me, rather than an album I’d choose to listen to all the way through.

There’s something for everyone here really, isn’t there? Personal shout-outs to Never Going Back Again and the bass part in the chorus to Go Your Own Way. Also, I’ve just realised: swap out the vocals and Dreams is basically a War on Drugs song…

Expected to give this a 2 to balance all the stars I’ll be dishing out to the later Beatles albums, but it started so strongly. Listening to the energy of It Won’t Be Long gives me a taste of what Beatlemania must’ve been like for a 60s schoolgirl. The Beatles did this kind of music better than most of their contemporaries, I reckon. Buuut there are a few duds (Little Child…) and the covers don’t add anything for me. 2.5 / 3

This is The Who doing what they do best, for me: big, epic, well-produced rockers with meaty guitars - and, as it happens, two of the best sequenced synth intros of all time. Speaking of which, I once woke up to Won’t Get Fooled Again, and would highly recommend it. Beyond the hitz, the supporting cast is fairly decent - the likes of Bargain and Going Mobile are strong album tracks. I can’t decide whether they’re strong enough to justify giving the whole album 5 stars, but I’m feeling generous so I’ll score it 4.5, rounded up.

I’ll all for spaciness but these songs don’t go anywhere. Was probably a great record to trip to during the second summer of love...

Great work, generator. Not only is this the perfect soundtrack for while I’m in Africa (not Mali, but still); I also listened to it just the other day. I’ll happily listen to it again though. The seductive grooves, guitar riffs and group vocals are a delight. A very enjoyable and evocative listen, even if I can’t understand the words.

Similar to the last Elvis Costello album, it doesn't feel like there's anything particularly unusual going on, just good solid songs. I'm definitely more of a fan of his thanks to the generator. The first and last few songs are really strong (the version of Peace, Love & Understanding being the highlight) but there's some more average stuff in the middle. 3.5

Talking Book came up recently so let's see how Stevie's sound has progressed in the 3 weeks / 9 months since then... Ooh it's good news! There's nothing as iconic as Superstition but the schmaltz has pretty much gone, replaced by experimental funk. Example: a track called 'Golden Lady' seemed like a prime candidate for schmaltziness, but turned out to be an absolute banger. I love the infinite key changes. The lyrics in the chorus to Higher Ground are much easier to understand than the RHCP version, too. Good stuff. 3.5 / 4.

Apparently this is pioneering but I'm sure by '91 some pretty similar sounding rap had already been released? Shows what I know, I guess. I like it in small doses but the relentless one-bar loops on every track start to grate pretty quickly - it could use more differentiation. 2.5

Love this one. There are actually more killer tracks than I remember (Thinking Bout You, Lost & Super Rich Kids are my top 3, but there are 8 or 9 very decent songs here). Even the weaker or interlude-y tracks contribute to the bigger picture though. There's this kinda modern, minimal, slightly spacey thing going on that takes me to some specific place and time it's hard to describe (probably southern California, near future; somewhere affluent and hi-tech but slightly unsettling nonetheless?) 4.5

I'd never heard of Gene Clark a few months ago and now I've heard two of his albums. I preferred 'No Other' to this one - it's pleasant enough and soothing to listen to after a long day, but largely unremarkable. Can't really see why it's list-worthy. 2.5

Only heard good things about Janelle Monáe so I expected this to be decent, but didn't expect to enjoy it so much personally. I thought it might be more straight up funk/soul but there's a smorgasbord of styles and a good mix of invention & bangers. Suite II in particular is a great ride.

This seems like almost as important a record as Elvis's debut, but unlike that album many of these tracks are self-penned, which is a plus. However, it doesn't have the excitement or star power of an Elvis - it's just nice and inoffensive, in a very stereotypically 50s way. I'm gonna give it 2.5, but I'll round up for influence, and because there are some *extremely* sharp haircuts on the cover.

This is probably the Dylan album I already knew the most tracks off, from various greatest hits compilations, covers and whatnot. Happy memories of many childhood evenings listening to the likes of Just Like a Woman and I Want You while playing Lemmings... I think the lush production and poppier structures of these songs really suits him, and was happy to discover a couple more that fit this mould, like Stuck Inside of Mobile. You could squish this into a 9-10 track single album and it'd be a legit 5 stars - no rounding necessary - but it loses a bit of momentum towards the end. 4.5.

If we continue at the current rate, 18 of the 1001 must-hear albums will be by Aerosmith. Seems excessive. This has got just enough about it to make me understand their continued appeal, even though I still think they're a bit meh. I actually think the best bits are when they go fully OTT (i.e. Love In An Elevator).

In my head The Fall was just Mark E. Smith snarling tunelessly over a punky racket, but it seems I did them a disservice. The music is more interesting and varied than I imagined (in this 90s iteration at least), and there are some funny lyrics, like this one: "I do not like your tone. It has ephemeral whinging aspects."

Not the 'Let It Be' I expected the generator to throw up. It was ok but nothing special. I think it says a lot about the state of rock music in the 80s if this is considered to be one of the decade's best albums.

Like millions of other Nick Cave fans (presumably), my first real taste of The Bad Seeds was hearing O Children on Harry Potter... That might well still be my favourite track on here, but it's got some stiff competition. It's hard to gauge whether there's a thematic concept in each disc or if they're just split on musical lines. Abattoir Blues is the better of the two, with both its loud chaotic bits and loud euphoric bits hitting the spot, but after a couple of listens I believe there's plenty to enjoy on both. The music is very rich but still accessible - much more so than the album title and cover may suggest. Honestly, even as a fan of the artist who was familiar with a few of these tracks I was surprised by how consistently I enjoyed the whole package. 4.5

I wasn't really in the mood for yet another double album today, especially 90 minutes of generic Southern rock by a band whose name sounds like a parody of generic Southern rock bands. But you know what, they kinda won me over. 'Three Great Alabama Icons' was the track that piqued my interest; it's more of a history lesson than a song. From then on I paid more attention to the lyrics, did some research and realised that this is an opera *about* Southern rock (Lynyrd Skynyrd in particular - plus attitudes towards the Deep South etc). After that it became much more engrossing, and it's arguably the most fully realised 'concept album' that's come up so far.

This reminds me of uni / the time just after uni (because I was a little slow on the uptake). Really enjoyable set of bangers that was clearly influenced by Daft Punk etc but brings something new to the table too - and I think that thing is lots of lovely distortion.

So 'Sabu' was a percussionist... that makes sense. The tunes with guitar etc are delightful, but 4/8 tracks of just hypnotic drumming and vocals is a lot, even for me. Probably best experienced live, outdoors, while performing some sort of mystic ritual.

Only heard a few Hole songs before (mainly off Celebrity Skin) but this reinforces my view of them: strong vocals, good grunge-pop sound, consistently solid songs but not many worldies. The first and last tracks were my favourites. 3/3.5

We have a new contender for most 80s sounding album of all time, and I'm not sure that's a good thing. Initially I was wowed by the number of hit singles and thought it had to be at least 4 stars, but then I thought: are the hits on here *really* all that? Bad ain't good. Man in the Mirror isn't the masterpiece I thought it was when I was 10. Dirty Diana and Smooth Criminal are still fun, and The Way You Make Me Feel holds up fairly well, but there's at least as much filler as killer here.

Scores low on the 'why is it on the list' scale (as far as I can tell it's special because... they're from Finland?) Gains back 2.5 stars for some rather fun and catchy glam rock bops.

At its best, it's so good. That euphoric explosion halfway through In The Flowers, followed by My Girls, is such a strong start. The sugar rush of Brother Sport and the breezy Summertime Clothes are other highlights. But I feel with Animal Collective there are sometimes too many ideas, too much experimentation or just too many sounds that it impedes the songs. The production on some of these tracks turns into a thick noisy sludge at times - maybe I need to invest in some significantly more expensive earphones to unpack it all? 3.5, but the album cover is fascinating me in a big way so I'll round up.

Quite enjoyed this. It seems pretty heavy lyrically, and it packs a punch musically too, but not at the expense of melody or craft. My Curse was an unexpected but welcome left-turn. The lead singer reminds me of a few other rock singers of the era but I can't think who any of them are. Trent Reznor maybe?

Don't think I've heard this group before, despite Deceptacon having >100 million Spotify streams. Initially words like 'pretentious' and 'annoying' came to mind, but then I got over it and now I'm leaning towards 'inventive' and 'fun' instead.

Not too familiar with The Smiths' albums despite knowing dozens of their tracks - including, on this occasion, the excellent Headmaster Ritual, I Want the One I Can't Have and That Joke Isn't Funny Anymore (the point's been made to death, but how someone can write lyrics so sympathetic as the latter and turn into such an unsympathetic character himself is baffling...) As for the new discoveries: mostly pretty good. Some good up-tempo numbers on there like Barbarism Begins at Home and Nowhere Fast. It's a good album but lacking something that would elevate it to greatness. 3.5

And there was me thinking that Coltrane album was wild for only having 4 tracks on it. I like the very soundscape-y feel this has, especially track 2. Sometimes dreamy, often slightly mysterious, but never threatening. Pixar-esque.

This album has more of a poppy sheen to it, but notwithstanding that I'm just gonna copy and paste from my review of Live Through This the week before last: 'strong vocals, good grunge-pop sound, consistently solid songs but not many worldies. 3/3.5' Ok, this one does have a worldie on it (the title track). A strong 3.5 then.

The generator’s either getting smarter, or lazier; two days after In A Silent Way it spits out the follow-up. This is in a similar vein, but less peaceful and more chaotic. I like the really out-there sounds (the delay on the trumpet squalls etc in the title track). The bass also does a lot of unheralded work here - simple, hypnotic loops that steadily repeat for minutes on end while the other instruments do whatever the hell they want over the top. Together these parts create a witchy kinda groove that I can really get on board with. The second half of the album loses some of that mystery though (maybe it gets a bit close to conventional jazz or funk for my tastes). Also, it goes on for bloody ages. Still, clearly an impressive and important work. This week has been an interesting education in Miles Davis and his experimental fusion phase.

For the most part this works really well. Metallica make pretty huge, OTT music as it is, so combining that with an orchestra for added action-film epic-ness just makes sense. There's a crucial third element too: the audience. The occasional crowd participation bits actually add to the cinematic scale but also help keep the 'live' feel of the album. The setlist is a good mix of classics, personal favourites (The Memory Remains & Ecstacy of Gold, oh yeaahhh) & new discoveries (No Leaf Clover). There are definitely some more forgettable tracks too, and some of the orchestral arrangements don't really add anything, but I enjoyed this more than the other live albums we've had so my score should probably reflect that.

As a longtime indie/alternative fan it really was about time I finally listened to a full Pavement album. I'd say I was whelmed by it... It's likeable, but I didn't find myself wondering where this band had been all my life, or noticing a seismic influence on today's musical landscape. Got my foot in the door (/on the Pavement, amirite?) now though, so who knows, maybe I'll grow to love 'em.

Not as bleak as I remembered, musically at least (apart from The Eternal, which is pretty bleak in every sense). Atrocity Exhibition is jarring but propelled by a funky drum beat. Isolation is legitimately danceable. Heart and Soul & Twenty Four Hours are ominous as hell but still have an energy and a groove to them - dirges they ain't. I've decided today that this album is a pretty impressive piece of music in its own right, but the tragic context around it only makes it more compelling. Not in the mood for fully immersing myself in the lyrics today but can see how it might be a profoundly unnerving experience. 3.5 / 4

Controversial opinion: the more recent Avalanches albums are a bit better, and contain more good songs. But this album isn't a must-hear because of 'good songs', is it? It earns it's place on the list (and my possibly-slightly-generous star rating) for three good reasons: 1. Sampling isn't impressive. But sampling *on this scale* is, I think, something of an art form. To stitch together a vibrant, hour-long collage of music entirely from samples is pretty unique and remarkable. 2. I always like to reward albums that flow seamlessly, and The Avalanches are exceptional in that respect. I love the way they use filters and foley to make it sound like you're physically moving from one track to the next on a continuous, kaleidoscopic journey. 3. Frontier Psychiatrist. I heard this on the school bus when I was 10 and probably assumed that was just how music was going to be in the 21st century. I still haven't heard anything like it since.

Pleasant, gently psychedelic/inventive, but I don't think it'll live long in the memory.

Can't pretend to know how this fits into the history of reggae, but it seems decent to me. It's clearly got something to say, though personally it mainly evokes BBQs on hot summer days...

As a kid I was a bit of a Jamiroquai fan. I loved tracks like Virtual Insanity and Canned Heat (and still do). However, this debut album is less focused on slinky pop hooks and more on lengthy funk jams. I expect some purists prefer this to their later, more mainstream output but for me it just drags on for far too long. Decent musicianship but not really my bag. 2.5

- First and foremost: fantastic album art - There are several sounds in here that I think of as quintessentially 80s, so this was surely ahead of its time - Flips between quirky tunes that I enjoy (Birdland, The Juggler) and that brand of aimless jazz-funk muzak that does nothing for me - Very 'Mario Kart menu music' 2.5

Ryan Adams & me: a potted history. Stage 1: confusing him with Bryan Adams (this stage lasted quite a while). Stage 2: hearing his cover of Wonderwall and discovering he also had some good tunes of his own. Stage 3: finding out he'd been Me Too-ed and going off him quite a bit. Stage 2 didn't last long enough for me to deep dive into this album before, and Stage 3 has potentially tainted my opinion now, but I reckon I'm judging the music objectively. He's clearly influenced by Dylan & The Band and others, and the paths he treads are all well-trodden... which is fine, but then the songs have to be really strong to justify a high rating, and I don't think they are. There's some good stuff here, but it's mostly in the first third, and there's not enough variation, either within songs or across the album, to keep my interest. I listened to 21 tracks because apparently that's how the album was intended, but I think the label had the right idea in trying to condense it...

More Steely Dan, but still no Do It Again :( Honestly I got very little enjoyment out of this. Had a lot of jazz-rock lately and it continues to bore me more than it impresses me. The sound may be good, but it doesn't *sound* good, y'know? Little snippets of lyrics I caught interested me more than the music. That, and the fact a couple tracks (Josie and Home at Last, I think) had decent choruses, just about earns it two stars.

Another of those that feels like it needs way more than one day to properly digest (I listened to it once before, years ago, but even TWO days isn’t enough time to really know it…) I respect the proggy experimentation; it’s a pretty unique blend of math-rock, emo, latin, helicopter sounds and god knows what else. There are moments when an epic chorus or mighty riff breaks out from the chaos and it sounds very nice indeed. I can’t say that I enjoyed all 67 minutes of it to the same extent, but with more listens maybe that would change. For now: 3.5 stars.

Neil Young's probably over-represented on this list (I suspect we're not nearly done with his albums yet) but there's good stuff on all of them, and this might be my favourite so far, surprisingly. I wasn't expecting much but I didn't dislike any track and some really appealed to me. Revolution Blues is a great, propulsive rocker and the title track is exquisitely despondent. A solid, cohesively world-weary collection. 3.5

One of those late 80s/early 90s alt rock bands I probably would've listened to a lot if I was born 10-15 years earlier, but I wasn't, so I've hardly listened to them at all. I'm a fan of the grungey-but-melodic-at-the same-time aesthetic and really enjoyed this on first listen. But when I gave it another go it had lost some of its lustre. Maybe a bit too basic to enjoy repeatedly? Or just mood-dependent?

Good album. Sympathetic lyrics and a couple of real #choons. I do like funk & soul sometimes! Not sure how it works within the film but the album plays out a bit like a film all by itself, and you can't say that about all soundtracks. 3.5

Not my favourite Blur album but still lots to enjoy, and a key change in direction in their career. On paper this is one of their more stylistically uniform collections - an American-style guitar album without the lavish Britpop arrangements. But the variety of weird sounds and styles Graham Coxon coaxes from his guitar is impressive (see Essex Dogs and Death of a Party for two great examples). There's scuzzy lo-fi blues, punk, melodic balladry, singalong pop and two classic singles in Beetlebum and Song 2. Lovely stuff.

The harmonies are nice, and it's all very neat and tidy, but I just find it hard to love. It sounds a bit sterile to me. Marrakesh Express, Helplessly Hoping and 49 Bye-Byes stood out as tracks I might listen to again. 2.5

A strong comeback album. oh baby is gorgeous, and the run from how do you sleep? to american dream is so good - the way each song builds is peak LCD Soundsystem. James Murphy’s lyrics about the existential regret of getting older on tonite and the title track are exactly the kind of consolation I’m gonna need as the years fly by. The other half of the album has pleasingly twitchy and unsettling undertones but the tunes drag somewhat and lack a bit of variation. 3.5 / 4

6 year old me, just getting into football after initially hating it, played and lost his first ever penalty shootout one evening at Beavers (almost entirely down to Daniel's pathetically statuesque performance in net - cheers Daniel). As the credits rolled on this tragic, so-near-yet-so-far defeat, the melody to Don't Look Back In Anger inexplicably started playing in my head. I didn't know the words, what it was called, or who it was by, but I tried humming it to my mum, who reckoned it might be an old song about flamingoes. Incredibly, when I unwrapped a CD-shaped present on Christmas Day that year, it wasn't the flamingo song but WTSMG. I was finally able to put a name to my glorious failure anthem. But wait! There's that Roll With It song that the kids at school are always trying to sing! I recognise this 'Wonderwall' tune too! And that's the story of my first ever album. It began a love affair with music and losing penalty shootouts that remains to this day.

Is this an important or revolutionary album in the history of funk and/or soul music? No idea really, but I'm guessing not particularly. Is it at least E,W&F at their best? Again, I'm the wrong person to ask. There's no September-esque mega-banger in my opinion, but maybe as a collection it is? Did I enjoy it? Yeah, for the most part. Some undeniably happy and groovy vibes.

Doing an album of murder ballads is quintessentially Nick Cave, but I wouldn't say the album itself is quintessential Nick Cave - it's too inconsistent. Where The Wild Roses Grow is a delight, and Stagger Lee is fun, but trying to stretch that same formula out over 14 minutes on O'Malley's Bar is a bit gratuitous.

Hmmm. Accidentally seeing this was ranked among the all-time god-tier albums hasn't helped me here - I went in expecting a few more really classic songs, I guess. Still, Aretha was obviously an absolute force of nature as a singer and she sounds on top form. When the music gets all slow and soulful on songs like People Get Ready, Ain't No Way and Natural Woman, it's an almost religious experience.

One of their best, and one of the most important albums in the 90s Britpop movement. Everything starts to come together - the lush, melodic pop songs (For Tomorrow and Chemical World would surely have been huge smashes if released when Blur were already a big deal), the overtly British tunes like Sunday Sunday, the punkier numbers like Advert, and the more psychedelic, experimental tangents like Oily Water and Miss America that keep things interesting. Also, there's a particularly innocent, youthful edge to songs like Star Shaped and Blue Jeans that I really like, but was maybe eroded away somewhat in later albums. On this occasion I'll override my own personal enjoyment and nostalgia telling me to give it full marks, because, well, it's not a perfect album. 4.5 it is then.

Struggled to really enjoy this one and I'm not sure why. It's got energy but somehow felt like a slog to get through despite being 26 minutes long. Dance Song '97 was my favourite, I guess it stood out from the punkier, scuzzier tracks. Jenny is nice and moody too actually. There is some good stuff here, so I'll round up from 2.5.

Reminded me a lot of Penthouse and Pavement (unsurprisingly) - and I enjoyed this one too. Catchy, quirky, synthy melodies aplenty, artfully treading the line between tacky and sophisticated - and that's before we even get to Don't You Want Me at the end. Something about it starts to grate after a while though. I think maybe I'm not a huge fan of the vocals. 3.5

The nostalgia is strong with this one. It's hard to listen to Crawling and not be taken back to those intensely angsty teenage years, which is exactly what Linkin Park is made for. The nu metal style sounds a bit dated now and the album tracks are hit and miss, but the singles still hold up well. I personally think Meteora is a stronger album, but I'll give Hybrid Theory 3.5 stars.

Always been baffled by the amount of records Eagles have sold, but I can see the appeal in Take It Easy, and the chaotic birdsong/banjo combo on Earlybird was fun. 'Chug All Night' is an awful phrase though.

I'm a big fan of Talking Heads - they've made some of my favourite tracks and influenced loads of other great artists - but I've yet to find a TH album I loved from start to finish. Having said that, I do like the cut of this one's jib. The commitment to completely bonkers (but possibly profound??) lyrical themes hooked me in, and second time round some pretty infectious tunes revealed themselves too. 3.5, but I suspect that score may rise further in future.

This started promisingly; I’m all for snappy Latin rhythms and airy acoustic guitars that transport me to a sunny South American village. But I felt like as the album went on those Brazilian vibes got watered down and replaced with a more generic brand of smooth jazz/funk which is less appealing to me. 2.5

The five singles are all 5*, just great, brooding metal songs (that slow snare roll in Sad But True - so simple but so effective), and even the ballads sound heavy as... a really heavy thing. It seems like the rest of the album isn't quite on the same level, but to be fair it could just be that I'm less familiar with the other tracks. 4.5

This was definitely in my parent's CD collection but it didn't seem to get much of a spin, unlike other Kate Bush albums. I guess it's because, outside of the heavenly This Woman's Work, there isn't anything really outstanding on here. I enjoyed it though. The title track, Rocket's Tail and Walk Straight Down The Middle all caught my attention, while Deeper Understanding seems to be about forming an emotional dependence on computers - how very ahead of its time.

According to their Spotify bio these guys 'resuscitated rock'. I get it - every few years rock'n'roll goes out of fashion, then a back-to-basics, 70s-style rock band comes along and gets very popular. But ultimately they weren't the best at making this kind of music, and they certainly weren't the first. So, 30 years on, this album seems fairly unremarkable. Decent American bar background music is all.

Always liked Dusty's blend of grandiose arrangements and catchy melodies. Wishin' and Hopin' and I Only Want To Be With You were childhood favourites of mine (though the latter is apparently a bonus track, and I'm never sure whether to factor those into my rating). The songs are pretty strong throughout and I'd happily listen again, but I can't give it a higher mark because most of them aren't Dusty Springfield originals, and it feels like cheating when you can have your pick of songs other people have already recorded. 3.5

Pretty disappointed by this. Turns out I'm not a big fan of 'G-funk' - or at least not a whole hour of it (the singles can stay). Shame, as I really like Dre's later production work for himself and Eminem etc. I also think his aggressive vocal style is more suited to that later sound than these more chilled out stoner vibes. It's lucky Snoop is around (a lot more than I realised), as his voice fits the music well and is a bit more more interesting to listen to. I've seen Straight Outta Compton now though so at least I understand all the Jerry Heller and Eazy E disses... Clearly an influential album, but it's a 2.5 rating from me.

One of my favourite album covers for sheer ‘fuck it, this’ll do’ factor, and also one of my all-time favourite songs for singing along to every vocal part at the top of my lungs (California Dreaming, obvz). There are some other very pleasant tunes too, but nothing quite memorable enough to elevate this album to 4-star territory.

Always been more of a WTSMG fan, but I can see how the rawer guitars and mad-fer-it attitude of the debut would be some people’s preference, especially if they were aged ~12-25 when it came out. Plus, it’s got Live Forever, Supersonic and Slide Away on it, which are worth most of my 4.5 star rating on their own.

A real curio. I hadn't heard of this man - must ask my dad though as I suspect he will have. The more straight-up acoustic guitar folk numbers tended to appeal to me most, but I respect the blend of genres and the experimentation, even if some of it left me cold.

In my youth Jane’s Addiction were just-another-band I was vaguely aware of, but I didn’t appreciate how old, and therefore ahead of their time, they were (I’d also never heard Jane Says before now, which apparently is comfortably their biggest hit). This album seems a darn sight quirkier than I previously gave them credit for, too, though I actually reckon they’re at their best doing Big Rock Tunes, like Mountain Song. Conclusion: a list-worthy album, which is all you can ask for really.

Excellent grunge. Thought I'd like it based on the tracks I knew but the whole album exceeded my expectations. Not sure why I never really took the time to listen to more Soundgarden before. I'm giving it 4.5 stars, but heck, I'll round up as a 'pleasantly surprised' bonus. SPOONMAN!

Haven’t listened to this one in a while as my Dad lost my CD, but it’s actually better than I remember. I probably bought it off the back of hearing Seven Nation Army, which has now reached such a level of ubiquity that I almost discount it completely, but I don’t think the album is defined by it anyway. The rockers are full of raw but controlled energy and the slower numbers like You’ve Got Her In Your Pocket are well-written. Plus, I Just Don’t Know What to Do With Myself is a really great, underrated cover. I don’t feel the same affection towards The White Stripes/Jack White as I do towards other bands but I do have a lot of respect for them/him, and this album might just be their/his best.

From what I've read Fugazi seem like an interesting and influential band so I'm not writing them off, but nothing on this album struck me as essential listening. I liked plenty of bits of it but there wasn't a track I really loved. 2.5 stars.

For some reason I thought the Doors had one legendary breakthrough album, flattered to deceive for a short while, then (Jim) died. This album dispelled those thoughts in a couple of ways: firstly, turns out they made 6 albums together! And secondly, some of their later work is actually quite good. A few tracks are pretty basic, uninspired blues rock, and sometimes the jams last too long without going anywhere, but I kinda like them anyway. And when they really decide to knuckle down and focus they created gems like Love Her Madly and Riders on the Storm (Ok, the latter is also long and doesn’t go anywhere, but it’s still great - I don’t make the rules). 3 / 3.5

Intriguing. There’s some classic Brazilian goodness here but it’s clearly more than just a traditional samba/bossa nova album. A lot of styles are thrown together and some of the changeups in the middle of tracks are quite surprising. Double albums are always a bit overwhelming, and I feel like I’d get more out of some of the slower songs in particular if I understood the lyrics, but sometimes the beautiful melodies speak for themselves, like on ‘Ao Que Tai Nascer’. ‘Clube Da Esquina No 2’ also seems deeply familiar and evocative, but I genuinely don’t know if that’s just because I remember it from when I listened to the album a few hours ago… Overall, a lot to like. 3.5 stars.

Hard one to judge. First couple of tracks didn't really do it for me despite the presence of Jarvis Cocker and Atticus Ross, but I was sort-of won over by the madness that followed. It reminded me of the David Holmes album that came up, but weirder. I may not return to it but the whole 'soundtrack to an imaginary film' schtick does appeal to me in some way and I think I have to respect the ambition... 2.5 / 3

Pleasingly chaotic psychedelic pop. The Garden of Earthly Nights and the Eleanor Rigby-esque Stranded in Time were my favourites. The fact they only made one album gives this a bit of a mythology too: they came, they made weird music, they split up. Job done.

I always find myself rooting for The Kinks; they’ve got a boatful of classic singles to rival any of their contemporaries. But I wonder if those many singles were spread out across almost as many albums? Certainly when Sunny Afternoon kicked in the jump in quality from the rest of the tracklist was obvious (barring Dead End Street, if we’re including it in this album). That said, there are some other nice Ray Davies ditties on here, and evidently it was an important record in the creation of the 60s ‘Britpop’ sound.

Another 80s synth-pop album that I thought was actually rather decent, with or without the huge, iconic smash hit contained within. Not mind-blowing, just a solid listen. A textbook 3-er.

Wow, this album seems to have quite a tragic and bloody history, which I guess makes the lyrics some of the most potent ever. Musically, there's nothing I don't like, per se... but if you were to cut off ~4 minutes at the start and end of every track (leaving the call-and-response vocal bits) I'd probably rate it a lot higher. It's the kind of music which, if a live band was performing it, I'd have an absolutely great time dancing to for 5-10 minutes... before gradually losing enthusiasm over the next hour until I was swaying out of habit only; a little dead behind the eyes and secretly, desperately wondering when it was going to end. 2.5 stars.

I saw a video of B.B.King performing live in his later years and he was clearly a shadow of his former self, but here he's in his prime and wow, what a performer! Loved the voice, the crowd interaction, the crowd noise, the segues between tracks. I could probably take or leave the tunes themselves in studio form, but in a live setting - magic. 3.5 / 4

I recognised Two Weeks but apart from that Grizzly Bear have been on my 'heard good things, must check them out one day' list for the past ten years. It took me a while to warm to this album but I enjoyed it plenty by the end. While You Wait For The Others was my highlight. None of it felt completely new to me - it reminded me a lot of how Wild Beasts sounded around that time (I think Wild Beasts win that fight btw - there are more of them after all, but admittedly it depends on the type of beast). Also, the album kind of meandered at times in the middle. But like I say, my overriding feeling was this was a pleasant listen. 3.5 stars

The main theme is fun, and there’s a sort of airy, happy-go-lucky feeling to the instrumentals which is endearing (no idea how a lot of these translate to a crime/action thriller though…) But as an album in its own right? Can’t see myself sticking this on in any situation really. The Super Fly soundtrack is better.

This generator has introduced me to some nifty new artists, but it’s also made me appreciate artists I already knew and loved even more. Chief among those is Simon & Garfunkel - their entire catalogue just seems to be so consistently strong. Take the classic singles away and you’re still left with a very enjoyable, vibrant album. 4.5 stars. Should I round up or down? I dunno. It’s too hot today.

Pretty dull on the whole, not list-worthy in my book. The three 'hits' are alright though - I do like a good talk box solo.

Prince was an incredibly charismatic performer, amazing guitarist, gifted musician and all the rest of it, but I've never been able to really connect with his music, and this album doesn't change that. A few tracks stood out (Starfish and Coffee & the title track for two). There are some cool, quirky bits in If I Was Your Girlfriend, It etc that remind me of some of today's more interesting hip hop artists. And then there are other tracks that are kind of... meh. Like, it's probably great, but... maybe it's just overrated? The shear scope of the album kept it interesting though and it would probably benefit from further listens. 3.5

In the context of music history it’s nowt special, but in the context of what’s come up on the list so far it’s a breath of fresh Celtic air, and I rather enjoyed it. Like one long barn dance. 3.5

Lotta long albums lately, huh? Sabotage and Sure Shot aside, not a lot on here excited me. There wasn't as much playfulness as I was expecting (except the start of Heart Attack Man). I guess this album was intended to be more experimental, but I found the experiments pretty hit and miss: a few interesting bits of production, but also plenty of blandness. 2.5

Wasn't too excited when this album popped up so it was fighting an uphill battle from the off, but it was fine really. Probably more forward-thinking at the time than it sounds now. Good vocals & lots of Doors-y organ bits that I didn't expect. Child in Time is textbook OTT rock and I dig Living Wreck too.

I was excited to finally give this a listen, but ended up respecting it more than really loving it. Somehow it stands apart from the music came before it (despite not really introducing any new sounds), and had a massive influence on what came after (despite not really sounding like what ‘punk’ eventually became). It also very clearly inspired Razorlight - make of that what you will. I like the energy and there are some thrilling moments but also lots of meandering in between. I don’t feel compelled to keep returning to this album. 3 / 3.5 for influence or whatever.

Started out too funky for me. Then I heard Who Says a Funk Band Can't Play Rock?! and was completely swept up by the groove. The following track was exquisitely mental and suddenly I was all won over. Then it got a bit too funky again, before finishing quite well. I've got a bunch of 4 star reviews burning a hole in my pocket but the albums are just too darned inconsistent lately. Another 3.5 is the best I can do.

I was first introduced to ‘CCR’ when Up Around The Bend appeared on Guitar Hero 4. I did not care for it. The first four tracks on Cosmo’s Factory only reinforced the sense of ‘meh’ I felt towards this band. Singer’s got a great voice though, and the softer numbers like Who’ll Stop The Rain and Lookin’ Out My Back Door are very nice. The latter even references generator legend Buck Owens and that alone is enough for me to round up from a 2.5.

Ooh, 70s Beach Boys. Intriguing. I found the attempts to push their sound and their lyrical themes forward interesting, and I feel like there’s a mystery quality to it that might reveal itself over time. But equally I’ve given it a few spins now and there still aren’t any tracks that have burrowed their way into my psyche. Maybe a bit harsh, but 2.5 stars.

These days I have lots of respect for Billy Joel’s back catalogue - it’s not just Uptown Girl, like I thought when I was younger… This album in particular is stacked with great songs (+ the odd schmaltzy dud, but mainly just top-notch songwriting).

The punk sound is impressively fully-formed for a debut. I enjoyed it quite a lot, and I respect its status as a great of the genre, but don't think it will become an all-time favourite of mine. A few bangers though: Janie Jones, Career Opportunities, I'm so Bored with the U.S.A, etc etc. 3.5 stars.

Very nice discovery. Based on an 80s template sound but with a lot of life and creativity mixed in. Most tracks go on a bit long. 3.5.

More than adequate as background music I'm sure, but I listened as foreground music and found myself checking how long was left to go from very early on...

Seems like the exact midpoint between their early, funk-driven albums and their more melodic (better) later style. It could definitely use some culling, but there are enough great tracks (in the first 2/3 of the album especially) to warrant a good score. HOT TAKE: Breaking The Girl is low-key one of the best Chilis tracks. Just terrific.

I don't get the hype around Wilco (wait, *is* there any hype around Wilco?) This all just seems so... ordinary.

More of a 'nice to hear' than a 'must hear', but it was nice to hear it all the same. Also nice to be reminded of what absolute bangers Zero and Heads Will Roll are, and they *almost* earned the album a fourth star. 3.5

Never heard of Wire, but I liked this album. It seems to have spawned half a dozen different musical sub-genres in one go, and it moves between them at pace. I've got a lot of time for bands who keep the songs to under 90 seconds. Literally.

Never heard of The Auteurs, and judging by the brevity of this album’s wikipedia entry it kinda fluked its way onto the list. But I liked it! I thought the The Neil Tennant/Ian Broudie style vocals would start to annoy me but they didn’t. There are lots of nice melodies, decent 90s guitars and some interesting lines. 3.5, but I’ll round up because I think it deserves more love than it’s evidently had.

A lot of this really isn't my cuppa tea, but I found the Indian strings and scatty vocals on tracks like Homeland, Serpents and The Conference kinda cool, so it deserves some credit.

I do like Dexter Holland’s voice. And his name. And The Offspring’s blend of the angsty/angry and the funny/silly. IMO they perfected the formula on Americana but I’m biased because that’s the one I grew up with. Good album though, and one that clearly helped shape the 90s/00s pop-punk movement.

My first Rush album, and it was more or less what I expected. Sometimes enjoyable, sometimes meandering, always technically excellent. My favourites were Limelight and Vital Signs, which might be the least proggy tracks. Coincidence? Probably not.

Eh, it's ok. Some of it sounds very of-its-time, some of the louder bits were probably quite forward-thinking and some of it still sounds stuck in the 50s. Without the title track I can't see how this would be considered such an important album. Think I've been plenty generous to The Who with my previous ratings so I'll be harsher here - 2.5 stars.

Started out thinking that techno doesn't really translate to the recorded album format but by halfway I was quite into it. In the battle of albums on this list released in 1993 by English electronic artists with 'Orbit' in their name, this wins hands down for me. Sorry, William.

I enjoyed it somewhat (bit samey), but I respect it a lot. One of a handful of albums (as far as albums go anyway - I guess the singles on the radio & raucous live performances were more important back then?) that can claim to have kickstarted rock ’n’ roll. Plus unlike that Elvis fella Richard actually seems to have written most of his own songs.

I see what you did here, generator. Well played. The music is pretty/vibrant/wistful/savage. The lyrics are heartfelt/snarky/whimsical/funny. After some consideration, I’ve decided this is an album that lives up to the hype.

I don't mind Cheap Trick; they have some good tunes, and a couple of them are on here. But what's this live album doing on the list? The sound quality isn't great, it's not wall-to-wall bangers and the concert itself doesn't seem particularly legendary. The audience seem to enjoy it, though.

At last, a country music supergroup album. Y'know, there are times when the beautiful harmonies and simple guitar chord progressions of old-school country songs really hit the spot. These times usually only last 15-20 minutes though and then I get a bit bored.

We've had a few of these albums now. You know the sort: lots of beats/grooves, but not really dance music and not exactly trip-hop. Mostly instrumental but with occasional vocals. Vaguely psychedelic, kind of quirky and eclectic, but also ultimately a bit samey and unremarkable. All of them from the 90s. I can understand having one or two of them on the list but surely they're not all 'must-hears'. Was this one a bit better than the others? I dunno. Maybe? 2.5 / 3, I guess.

I'd heard Tusk was an experimental, overblown mess that confused people, so I thought it might be right up my street (plus I was familiar with the title track, which absolutely slaps). In truth it’s not all that weird, but it is a bit inconsistent in style and in quality. In general I’m a big fan of the scuzzy Lindsey Buckingham numbers like The Ledge, but the Nicks/McVie tracks don’t match up to their Rumours offerings. Still enjoyed it though: 3 / 3.5

Am I too generous to Latin music albums? Possibly. But this seems like a particularly good one, capable of making me smile with both the major and the minor key tunes. Plus, there’s a track which is has the same name as the album which has the same name as the artist. Which is satisfying. Loses some kudos because most tracks are just covers of Cuban ‘standards’ (albeit some of them written by BVSC members, I think…?) But yeah, I can definitely see myself listening to this again, even if just in a background setting. 3.5

I guess I like this about as much as the Trio album the other day. That seemed more focused on sweet, syrupy harmonies though, whereas solid songwriting is a bit more to the fore here, and I respect that.

Probably his best album? I haven't listened to as much hip-hop in the past decade as I used to but after I first heard BDKMV I knew this guy was worth keeping an eye on. I reckon what sets Kendrick apart is his ability to come at traditional gangster rap themes from smart, introspective angles, (see: The Art of Peer Pressure and Swimming Pools for two examples) and be accepted/adulated equally by fans of each. Plus, while the writing and storytelling is the main selling point, the production is usually decent too. I think it's a great album and well worth a 4 or 4.5, though the full 70-minute runtime can occasionally become a bit of a slog, for me.

Hey look, it's that song the was on everything in the early 00s! I'm also getting a strong whiff of nostalgia from So Easy. Simpler times... Roughly half of this is bleepy bloopy Nordic magic and the other half is just-ok background stuff. Potentially would listen again in future.

It’s my first time listening to this, somehow, and I think it’s very good - the Eminem sound/style is much more fully-formed than I expected. Ok, there a couple of places where he’d still not quite worked it out, and a few weaker tracks in the middle, but it’s an impressive debut all the same. It must’ve stood out from a mile away back then - there still isn’t anyone else who sounds like this. 3.5 / 4

I didn’t dislike any of it but it mostly passed me by (I enjoy the fingerpicked acoustic bits the most). The other proggy albums we’ve had so far grabbed me a bit more. It did grow on me more the second time round though. A strong 2.5 stars.

I thought a Chic album would get a solid 3.5 from me (4 if I had my dancing shoes on at the time), but this does feel a bit like Le Freak, I Want Your Love plus a lot of filler. It must have some magic quality though, as singing the words 'at last I am free, I can hardly see in front of me' for 7 minutes over the same lethargic chord progression sounds like a terrible idea for a song, but I grew to like it.

Maybe it's that I don't much like soul music, or maybe I just don't like my soul hot buttered (or maybe I just don't have a soul, who can say?), but this veered towards 1-star territory for me. Sorry, Chef. The tracks go on far too long and all but one of them are covers (and not necessarily improvements on the originals). Some of the instrumentation is good though.

The Chemical Brothers are great, and as the world's introduction to their squelchy, electrified beats I guess this is a pretty important album. I like the way the first half flows like a live set and the added variety in the second half. But, be honest, do any of these tracks make it into their top 10, or even top 20 greatest? Better was to come.

Went into this not knowing what kind of music to expect and came out of it still not really knowing what kind of music 'Fishbone' made/make. It's ska, funk, hair metal, soft rock, 80s pop... Definitely a bit Faith No Moreish at times. It’s all over the place and often quite cheesy, but usually fun. Ma and Pa & the Pixies-esque Slow Bus Movin’ were my favourites.

The artfully delivered 'fuck off' on Precious is great. Shortly after that I started to lose interest though. It's that kind of in-betweeny rock that's completely fine but doesn't excel at any particular thing. Brass In Pocket probably is the track that stands out the most. I'll give it 2.5.

Well, it's a hugely seminal album and *arguably* Macclesfield's biggest contribution to music, so I feel a kinship to it for that. Half of the tracks are classics (the run of New Dawn Fades - She's Lost Control - Shadowplay is dark, twitchy brilliance), while the other half are still big on those atmospheric studio textures, but lacking something in terms of songcraft.

It's not the MBV album I was expecting to come up, and I'm not sure what I think of it. It sounds like a band still figuring out their sound - the heavy-but-dreamy thing only works sporadically here. Some of the tracks are sonically interesting but actually quite hard to listen to/enjoy. 2.5

An improvement on Exit Planet Dust I reckon. I still think their more recent albums have more going for them, but I can see why this is rated highly. It’s got some bigger hits than EPD and the last few tracks where they mix up the pace a bit are great. 3.5

It’s not the album I’d play to non-believers to convince them of the Beatles’ genius as there are a lot of songs on here that sound like jokes, or unfinished (both may be true, but usually in a good way). It might be the album that best displays the breadth of what they could do, though. In amongst some stone cold classics like While My Guitar Gently Weeps, Helter Skelter, Blackbird and Back in the U.S.S.R. there are some excellent John Lennon compositions (Happiness Is A Warm Gun, Dear Prudence, Glass Onion, Cry Baby Cry etc), and some genuine oddballs, just because it’s The Beatles and they could do what they liked. I remember being a bit underwhelmed when I first heard the album but now I find something new to enjoy with each listen. There’s some filler of course, but not as much as I first thought (and it’s part of the fun anyway). The first disc is great. 4.5

It’s fun, but I really expected to like it more. It starts off really fresh and exciting but by the second half it gets a bit samey to my ears, musically at least. I’d like to give it another chance but maybe in smaller chunks rather than slogging through the whole thing again. Cool that it invented the ‘skit’, though I guess that means it’s got a lot to answer for, too…

Custard Pie is a bit crap (the song, not the pie), and I can take or leave everything after Ten Years Gone, but most of the rest is excellent, in different ways. Bron-Yr-Aur & Down by the Seaside were lovely new discoveries, and Kashmir alone is worth a couple of stars, I reckon.

I wasn’t remotely excited to see this come up, but credit where it’s due; there are some good tracks on here, especially the first two. It undeniably reeks of Dad Rock though - the kind of mid-tempo plodders that men of a certain age worship but would probably bore the living bejebus out of the younger generation. It doesn’t sound like a must-hear record at all, so 2.5 stars. But I personally didn’t mind it, so I’ll round up. I guess I must be getting worryingly close to ‘dad’ age?

There’s something captivating about this. Simple, authentic country music appeals to me (for what it evokes more than how it sounds), and short, flowing concept albums interest me too. In other ways it’s not my usual bag, but I’m glad I was introduced to it. 3.5

Nice bit of folkadelia (I'm sure I haven't made that word up, but Google suggests otherwise...) It's short enough that the fantasy elements didn't get stale and old enough to make me think it's not too derivative of other bands.

I refer you to my comments on the previous Sinatra album (though actually I preferred those up-tempo swingers to these dirges). Every now and then, if circumstances called for a dose of hazy old-timey melancholy, I could see one of these tracks hitting the spot. But as a whole album, my god it drags. So samey, musically and lyrically. Plus, the Lionel Ritchie cover didn’t work at all.

Fair play, this has a lot more to it than I was expecting; it ain’t just big dumb rockers about school (though there are a couple of those). There’s a definite theatricality to it, which I guess fits in which Alice’s image - even if it’s more pantomime than anything really shocking. Fun though. 3.5

Really enjoying this continued deep dive into The Smiths’ back catalogue. Whilst this one doesn’t contain the biggest hits (though I’ve always loved ‘I Started Something’), the music and production had become so vibrant at this point. It tails off a bit at the end, but overall, a cracking listen and a fitting swan song.

Lovely Head will never not remind me of Monkey Dust, so that’s worth a star. I wasn’t expecting the rest of the album to sound like that for some reason, but it’s all in much the same vein. It’s almost my style, but not quite - I’d probably appreciate it if I was in a very specific mood, but otherwise I’d get a little bored. Tracks 7 & 8 bring some welcome energy though. 2.5 stars.

There are several songs on Revolver that sound completely different from any previous Beatles album, or any previous album by anybody. It’s got that edge, that weirdness, that dreaminess that, if reviews from people who lived through it are to be believed, changed music forever. It’s still got those perfect McCartney melodies. It’s got a song called I’m Only Sleeping which has no right to be as good as it is. They released Yellow Submarine as a double A-side with Eleanor Rigby FFS - what more do you want?!

Clever album title! It certainly made me listen with an open mind. The first few tracks were really impressive, and did indeed raise George Michael in my estimation as an all-round singer/songwriter/producer of substance. The middle of the album was much less uninspiring - there are some pretty ordinary nothing-y sort of songs there. But overall, a worthwhile listen (and that’s without prejudice).

‘Quiet Storm’. Thanks to this process, I’m learning to put a name to that type of bland-smooth-muzaky music my ears instinctively reject. At least the Anita album had one legitimate banger I’d choose to revisit. Also, Sade is the name of a whole band?! Makes me feel less bad about dishing out a scathing review, at least. 1.5

Knew the name, not the sound, but pleased to report I found it to be both bonnie and princely. Obviously it's a bit morbid (no problem) and one-paced (can be a problem), but for the most part it kept me enchanted with its earnest musings. Death To Everyone and the title track stood out as highlights. 3.5

One of the easier 5s. Great hooks in every song, but no less heavy or visceral for it. Those drums! My word. Well done Butch & the gang. Believe the hype!

It feels like there’s a direct line leading from this to Blake Shelton’s ‘Boys Round Here’, and for that I don’t know whether to give it 1 star or 5. Goodbye’s All We’ve Got Left is a decent song (and strangely familiar), but a lot of it’s a bit… ehhh ¯\_(ツ)_/¯

Another classic early hip-hop album that I felt a little underwhelmed by - I’d say I enjoyed it about as much as Apocalypse 91. The production didn’t do much for me (with some exceptions, like She Watch Channel Zero?! and Show ‘Em Whatcha Got, it all sounds pretty similar), and this probably stopped me concentrating on the supposedly political verses a lot of the time. But I do respect that both the lyrics and the music were considered game-changing when the album was released.

Rock ’N Soul is exactly how I would’ve described the music on the album, too. It’s very evocative of a certain era, and very sweet on the ears. For enjoyment alone, it’s a solid 3. Buuut it’s an album of covers, and you know my feelings about those, in the context of this list. 2.5

Jeff is still my favourite Buckley, but Tim sure could sing too, it seems (aside: I never realised he died even younger than his son - tragic). I don't mind a bit of lightly experimental, vaguely psychedelic 60s folk-rock; No Man Can Find the War, Pleasant Street, and Once I Was are good tracks. It can get a bit much when he goes all medieval rock-opera though.

I thought this was an album by the band Idlewild at first, but alas. The music does nothing for me. Some of the lyrics at least have a bit of individuality to them, albeit in a super inoffensive way. The only song I recognised was a cover and apparently not even on the original release. 1.5

I had The Yardbirds down as a 'supergroup', but if the 'super' members weren't famous before they were in the group (and furthermore, weren't even all in the group at the same time), then I guess I'll have to recategorise them as just a 'group'. Shame. Anyway, this was a bit quirkier than I expected. Take Hot House of Omagarashid: two and a half minutes of 'ya ya ya'. Nuts. I think I like it? Also, the album art probably bumps this up half a star or so.

Good Times is omnipresent but it's never been my favourite (gimme Everybody Dance any day of the week). Like the other Chic album, it's pretty hit and miss, and a few tracks are unnecessarily long. My Forbidden Lover and What About Me got me bopping though. 2.5

I've been looking forward to finally giving this one a go. It's great! Some really cool moments, like when a voice suddenly starts announcing the instruments 20 mins into Pt. I, and that demented growling sound in Pt. II. The tracks are long, but for the most part Mike keeps them interesting and surprising. Strange how something like this became so mainstream but I guess, like the Nizlopis and Sandi Thoms of this world, oddities do come to the fore sometimes. It's an impressive piece of work regardless, especially given it was composed and performed largely by one teenager. Absolutely belongs on an 'albums to hear before you die' list.

A lot to like about this one. One of music's most distinctive and expressive voices, and interesting arrangements of some good songs. A few more originals would've been nice though; the one song she wrote herself is a good'un. 3.5

I didn’t hate it. There are a couple of good riffs and I like that it’s short, brutal and to the point. But it’s a bit *too* thrashy for me, and too samey to boot. It’s probably not something I’d choose to listen to again. Raining Blood brings back happy Guitar Hero memories though. 2.5

Clearly way ahead of its time, and I actually quite like the monotonous synthy soundscapes they create, but after a few tracks it became apparent they were one trick ponies. Gets 2 stars for style, half a star for substance.

Ok I’ve heard something from all the Big Four now, and I reckon Megadeth are a comfortable second for me (behind Metallica, obvs). There’s just more to hold onto in terms of hooks and melody than, say, Slayer. Some great guitar parts on here. It’s more in the Iron Maiden mould: a bit cheesy at times but good, clean, speed metal fun. 3.5

I don’t mind admitting to enjoying some of Adele’s singles (like the first couple of songs) but I find a lot of the album tracks too cloying. Water Under the Bridge sounds exactly like a piece of stock background music for an ‘inspirational’ corporate video FFS. There’s half a decent album in there, but not a must hear. It’s a 2.5 for 25.

Can’t score it too low as it’s all fine, really. Some decent lyrics, some nice tunes, & the production values are more advanced than I expected (i.e. it sounds nice and crisp. It helps that the band is tight, I guess). Can’t score it too high as there aren’t really any standout tracks, just a lot of quite good ones and a couple of underwhelming ones. It would be pretty unremarkable if released today, but I guess it’s not too much of a stretch to imagine it being a milestone release in the 70s.

Some spooky sounds. Some pretty sounds. Some cool, glitchy sounds. Some boring sounds. Lots of sounds that inspired Thom Yorke. Some highly irregular counting. I’ve changed my mind on this one a few times but I think it warrants credit for creating a distinctive, cohesive mood.

Kinda bad but kinda good: 2.5 stars. Smithers, have the Rolling Stones killed.

I have mixed feelings about Arctic Monkeys. They fulfil so many of the criteria for being that Beatles-esque, generation-defining band that all the critics clearly want them to be (a gang of smart, witty northern upstarts that represented the youth of the day and took the charts by storm, then experimented and evolved on their own terms while still staying massive), but ultimately fall short due to a smattering of dull releases and lacklustre performances. The acclaim seems to keep coming regardless, which makes it harder to be a fan, I find. There’s no doubt that when they get it right they’re a great band though, and this album is one of those occasions. The lyrics and drumming were always the highlights: hearing Alex Turner rhyme ‘dancefloor’ with ‘romance or’ was the first time I knew these guys had something, and learning to drum along with The View From the Afternoon is a proud teenage memory of mine. I always thought some of the weaker tunes were a bit pedestrian, musically, but returning to them now they sound more full of life and youth than I remember. 4.5

Not bad, but nothing grabbed me the way a lot of stuff from that era does. The album is lacking a classic tune, a For What It’s Worth, that would bump it up a star. The last two tracks were good though. Also, I can’t not acknowledge the large debt that the opening track owes to the Rolling Stones… 2.5

This seems to be another of those 80s bands that were sort-of indie, except ‘indie’ didn’t really exist yet (I guess they called it ‘New Wave’ back then?) First half I liked, some catchy melodies and interesting (if a bit pretentious/geeky) lyrics. Speedboat is a bit of a tune. By the end of the album I was getting more easy-listening, poppy vibes (i.e. a little blander). 2.5 / 3

First thing in the morning isn't the best time to fully appreciate 20-minute sci-fi prog medleys, but I looked up the synopsis afterwards and it's pretty wild. Side 2 is more immediately enjoyable - some decent rockers on there. I think I'm warming to Rush. There's something about their style that I like, even if the music doesn't click for me all the time. They seem like respectable chaps too.

Such distinctive voices and such rich harmonies. It’s all very calming and feels good for the soul, like going for a nice walk in the African countryside. I do think I’d prefer it if the choir occasionally had musical accompaniment though, like on Graceland, to add a bit of colour. Still, for an entirely a cappella album to hold my attention is no mean feat.

This was a step down from the Super Fly soundtrack in my opinion. The tempo's just too slow for the whole album - the songs and grooves aren't strong enough to plod on so long without going anywhere. The guy did have a heavenly falsetto though.

Negatives: All covers. Again. Also, I’m sure there’s a raw, grizzled side to Ray Charles that isn’t on display at all here. I’m not saying I want 12 Hit the Road Jacks… but maybe I do? Positives: I actually enjoyed listening to this quite a bit. It took a couple of spins to realise they were actually, clearly, country songs at heart. The orchestral arrangements make them sound more like jazz or swing ballads or something, but the combination of rich instrumentation, simple country songs and Ray’s vocals works well. Plus, I got overwhelming Christmas vibes from the whole album, which put me in the festive mood more than all the prematurely erected lights and decorations in town currently do.

I think my dad saw these guys live about a dozen times, so I told him this album had come up and was not surprised to learn that he bought it on the day of release. I’m only partly familiar with their output though (now, Richard Thompson solo, that’s a different matter altogether. I hope he’s lurking on the list somewhere). The propulsive, guitar-driven tracks like Tam Lin and Matty Groves are classic English folk-rock, Crazy Man Michael is a great early Thompson composition, and Sandy Denny’s voice on Farewell, Farewell is particularly lovely. So, plenty of great moments, but the album as a whole is a mixed bag. 3 / 3.5

A new one to me, except Everything Is Free which I’m sure I’ve heard someone I like cover. It’s just vocals and acoustic guitar but there’s definitely something that sets it apart. It’s country, but almost completely cheese-free. A subtle, unnerving chord here, a wistful lyric there... At its best it’s quite enchanting. Probably need to be in a specific frame of mind to get the most out of it though. 3.5.

Never heard of this guy but he sounds, to my uninitiated ears, like an appealing middle-ground between East Coast gangsta rap and the chilled out, playful flow of a De La Soul or some such. It only gets 2.5 stars because ultimately I don’t think any of it will live long in the memory. But I’ll round up because I feel like I’ve given other 90s rap albums that are probably no better than this higher marks based on name/reputation, and as we all know, two wrongs make a right.

I’ve got a soft spot for T.Rex based on the handful of songs I’ve heard, though none of them are on this album. No matter, the sound that I like is still in tact: melodic and pretty and spacey but also loud ‘n’ raucous and full of riffs. A Children of the Revolution calibre anthem would really complete it (Buick Mackane lays down the prototype but clearly isn’t as good), but I found every track on here very listenable. Very listenable indeed.

I think maybe Belle and Sebastien are destined to be one of those indie bands that never quite do it for me (someone who likes a lot of indie bands). I sort of get it - thoughtful, sympathetic lyrics and ‘nice’ inoffensive music. It reminded me a bit of that Lloyd Cole album that came up recently, and, like that album, sometimes it works. But other times it’s too twee for my tastes. Expectations was the definite highlight. 2.5

Was a bit surprised to see this one has such a low rating. Sure, it’s not the iconic disco Bee Gees, but I thought it was a decent stab at Beatles-esque, cinematic pop-rock. Admittedly on second listen I realised there were too many ballads and a couple of stinkers… still, it just barely clings onto its third star.

This seems like one of those albums that didn’t make a splash commercially or critically but the book compiler has decided ‘fuck it, we’ve not had any German cabaret singers interpreting rock’s most melodramatic songwriters, let’s stick this in’. And you know what, I don’t mind it. It’s something different. Not a genre I'd usually listen to but a bit of Bond-theme bombast every once in a while is no bad thing.

Well, it’s clearly too gangster for me but I did get into it at times - Criminology and Verbal Intercourse had good beats, for instance. I don’t know Wu-Tang well enough (or at all, really) to properly appreciate/differentiate their various guest spots.

I like Q-Tip, and while I don’t think this album is game-changing I enjoyed it plenty. He’s still got that irresistible voice and there’s some nifty modern-retro production. 3.5

Cor, there are some big hitters on here. None more so than the title track, which is possibly Elton’s best, in my opinion. The album tracks are mostly very good too, but not always - it would probably benefit from being a single disc, and cutting a chunk out of the middle (tracks 7-11, for instance) would be the easiest way to achieve that. Still, it’s got me excited to see the big man on the Pyramid Stage next year.

I was vaguely familiar with the story of this album but didn’t know that several of the songs written for it ended up on other Beach Boys releases. Most notable among them is Good Vibrations, which is comfortably the best thing on here, and I now realise I still haven’t heard anything else quite like it, even after all these years. Trying to make a whole album as good as that would cause anyone to have a breakdown. It’s a pleasingly odd record but I don’t think it’s a masterpiece; there just aren’t enough great tunes. Still, I always respect albums that flow seamlessly, have recurring motifs, and are greater than the sum of their parts. Even without the mythology behind it Smile offers something different to this list. 3.5

It’s good to finally put a sound to another familiar band name. They seem like a cross between early 90s dance and easy listening, two of my less favourite genres. Considering this, it wasn’t bad. The Neil Young cover and Nothing Can Stop Us were high points and the samples on Wilson were fun (possibly inspiring The Prodigy’s ‘Charly’?). It doesn’t do enough to be labelled a ‘must-hear’ for me though, Clive. Also, I didn’t need to hear the words ‘France football’ in the intro today. Too soon >:( 2.5

Urgh. On paper I should hate this, as it covers all the worst bits of 80s pop. Yet somehow I just can’t… resist… those… funky… hooks…

Wasn't sure about this at first. But then I put de lime in de coconut, drank it all up, and was satiated.

It’s an improvement on their debut (as a case in point I prefer the grungey chaos of ‘1970’ to the scuzzy ‘1969’), but I’m still not completely convinced. There’s a lot of repetition on each track, and one seventh of the album is just noise. I do get that it would’ve come into its own live ’n’ loud, and that it was probably an important hard rock/proto-punk milestone… I’ll give it a generous 3 to encourage the lads to keep making progress on their next album.

Yep, still surprised by how much I’m enjoying Kraftwerk. And when I’m not enjoying them so much, I’m still impressed by how ahead of their time they sound. The eerie ascending synths on The Hall of Mirrors are a highlight, and Franz Schubert is a very pretty contrast to the industrial chugging of the preceding three tracks - like a train emerging from a stormy overnight journey into a peaceful valley. Also, Showroom Dummies seems like a very lo-tech precursor to The Robots, which is amusing. Track one really does feel ‘endless’ though - the length of some of the tunes is a bit of a negative. 3.5

So this is Zappa? Huh. I guess I wasn’t expecting it to be so jazzy. There are moments on track 1, and the start of tracks 2 and 3, where the 'non-rock' instruments (violins, flutes etc) mesh just right and I really dig it. The rest of the time I found it veered too much towards either generic rock soloing or free form jazz, without finding an enjoyable balance. A quick Wikipedia tells me today would’ve been his birthday. Happy 82nd, Frank.

Different strokes and all that, but 28th Greatest British Album Ever, Q magazine?! I really don’t get what’s so special about this album, even if you like this kind of music. Which I don’t. I thought Back To Life was going to redeem it somewhat, but the album version, it turns out, takes an age to get going. 1.5

Having heard the Raekwon album recently I feel I at least have a reference to compare this against, and my verdict is… they’re pretty similar. The murky beats on this one maybe create a more consistent mood but OB4CL has more standouts. It’s an album that sounds perfectly competent but it must be 'one for the purists', as nothing really excited me (my favourite was the bonus track, which apparently doesn’t even feature GZA…)

This is my first time hearing a Tom Waits album and I’m not sure what to make of it. Obviously that caricature of a voice is the first thing you notice… I think it suits the gritty, bluesy songs better but the slower ones have a bit a Fairytale of New York thing about them which sort of works? He’s probably a taste I still haven't fully acquired but I’ll give it the benefit of the doubt for now.

I first listened to this in preparation for Brian Wilson’s ‘Pet Sounds in full’ set at Primavera a few years back. We were still queueing up during the first few tracks, but it was only really Wouldn’t It Be Nice that I was sad to miss (the second half of the album is stronger; God Only Knows, like Good Vibrations, deserves all the praise it gets). I appreciate that the lush instrumentation was particularly sophisticated for its time, and I don’t mind the introverted nature of most of the tracks, but occasionally it’s all a bit *too* placid. Still, a solid 4 for attainment / 4.5 for effort.

As a kid I spent a lot of time listening to a 60s compilation album my parents had. Absolutely loads of great tracks on it, but Alone Again Or was up there as one of my favourites. Maybe because of that childhood soundtrack I’ve been rooting for the generator to show me a 60s Summer of Love-era album I can really get behind - most of them so far had their moments but ultimately disappointed. I think this one is worth my support, though. It’s not wall-to-wall greatness but it’s pretty consistent. Good melodies and arrangements, lyrics that flit between disarmingly simple and obscure, and a general air of wistfulness that I guess matches how I view the whole flower power thing from afar. Plus, mariachi trumpets!

I’d never heard of this band but I don’t think I’ve been missing all that much, really. They’ve got a couple of agreeable ditties and a playful streak, but nothing special or groundbreaking.

Good fun! Killer Queen is one of their best, but even the weaker cuts were enjoyable enough. It’s a winning blend of catchy, campy English pop, theatrical anthems and tracks that genuinely rock quite hard. The appeal of Queen in a nutshell, really.

First off I’d like to put on record that I’m quite a big Massive Attack fan. Heligoland (massively underrated) and Mezzanine (rightfully revered) are both superior albums, but I think I’m right in believing *neither* are on the list..?? By contrast, I found this one a bit disappointing. It veers a bit too much towards background lounge music for me, with less emphasis on those dark, mysterious or abrasive sounds that I enjoy in other MA albums. 2.5 stars, but I’ll round up because there are still a handful of redeeming tracks on here.

Probably deserves to be on the list for cultural impact? The title track still sounds huge and a couple of the other singles are either also genuinely decent or at least hold some nostalgia value. The rest is trash, really. But I suppose it was primarily aimed at kids.

I really liked Take Me Out when I first heard it in the car on the way to (or back from?) school, but I was initially sceptical about the hype surrounding Franz Ferdinand for some reason (I think it's because I was always sceptical about hype...) Anyway, I got over it and lucky I did, because this is a great album that hasn't diminished with age. No duds on here, just a lean set of tunes in a distinctive style that's ominous but danceable at the same time.

LOL at some fans apparently labelling this a "sell-out" album. Could be true for all I know, but it's still one of the least mainstream sounding records on this list. I *think* I like krautrock based on what little I've heard before but honestly this has left me none the wiser about what krautrock actually is. Surely there are about 8 different genres on here...? Consider me suitably beguiled though.

Probably decent if you're into this sort of music but it's not for me. I enjoyed the first track, a couple more were ok, but after 70+ minutes I was thoroughly bored.

Started out thinking it had neither the adrenaline-fuelled riffs of some heavier, thrashier bands, nor the silly fun of some of the more OTT metal bands. It's a not-completely-satisfying mix of the two, but by the end it won me over a bit by veering off in unexpected directions, like reggae (The Rage). 2.5 / 3

I don't know if it's actually any good (it sounds a lot like the kind of dancey 90s fluff I'd normally score pretty low) but to my surprise I quite enjoyed this - it's infectious. Maybe I just needed some funky breakbeats to oscillate along to on a chilly day.

This didn't really do it for me - there are plenty of other 60s West Coast groups that just have a bit more about them. I like the band name though.

It’s the kind of MOR seventies rock I can never get too excited about, no matter how much effort Raspy Rod puts into it. And again, it’s a shame that it’s two-thirds covers. I genuinely think Gasoline Alley and Jo's Lament, two of his own compositions, are among the strongest tunes on the album. Those and the final track. 2.5

The scope of this album is incredible. It contains some of the heaviest, grungiest, downright filthiest guitar music committed to record (ably backed by one of rock’s best drummers, Mr Jimmy Chamberlin), side-by-side with some of the quietest and most delicate. Then somewhere in between you’ve got masterpieces like Tonight Tonight and 1979, and underrated bangers like Love. It’s probably important to factor in that Billy Corgan explicitly said it was aimed at 14-24 year olds (y’know, the age when people still feel feelings) and I for one vividly remember many angsty teenage nights soundtracked by Bullet With Butterfly Wings or Bodies. It’s 2 hours long, so there’s obviously gonna be some flab (mainly towards the end of disc 2) but I don’t think condensing it was ever an option - this was always intended to be a grand, sprawling opus. 4.5. But yeah, I’ll round up. The highs are so high, and the lows aren’t really that low, so I think sheer force of ambition wins out over perfection here.

I'd heard of this album but was surprised to read about how much more successful it was than the other Beatles' solo efforts. Interesting. As a lad, hearing My Sweet Lord almost made me want to become religious. It still kinda does to be honest. There are a few other great songs in that same lovely vein (maybe not quite as divine), and a couple of fun rockers for good measure. Yup, I'm getting good vibes from this one. 3.5 / 4

The praise for this one is understandable - The Doors definitely had something unique. For sure it's one of the most impressive debut albums, as their signature sound was already fully formed, and there are some truly classic tracks as well. When the organ riff in Light My Fire slots back in after all the soloing it's always a great moment, every time I hear it. I'd stop short of saying it's one of the best ever albums period, though.

My immediate thought was to compare this with the Songhoy Blues album (then I learned they were both from Mali so that's fair enough, right...?). They cover similar musical territory, but this one has less of the neat rock song structures I like about SB and more looser, jam-like tunes. It is big on sizzling deserty vibes though, which I can usually get on board with.

Not sure I needed to hear two Rod Stewart albums in one week. This one seems very similar to the last one, so it’s getting a similar review: Some good moments but generally a bit dull and uninspired. His own writing is decent so why waste so much time on mediocre covers? etc etc

This sounds like an influential album, both on 80s post-punk groups and 00s indie bands. The playing is tight, the lyrics are sharp, and there's a sense of purpose about the whole thing. Despite all this I find it a bit hard to love. Might just be a bit samey, musically?

Yet another Neil Young album, and this one scores low on the 'why is it here?' scale. It doesn't seem particularly important or revolutionary for the artist, let alone for music in general. I don't mind the music; F*!#in' Up is a tune and the general garage rock feel is enjoyable. Even the length of some of the tracks didn't bother me too much... at first. Second time around the instrumental breaks really seemed to drag. 2.5 stars.

If I was being charitable I could say that these creepy soundscapes and industrial rhythms helped lay the groundwork for Burial, Nine Inch Nails and others to build upon, or that the extreme experimentation and complete disregard for pleasant sounds is way more punk than anything else on this list. I could also say that this album would make an ideal soundtrack to a horror film, or horror video game, or horrifying mental breakdown. But I can't in all conscience call it good music. 1.5

After initial bouts of 'wtf is this' and 'wow, this guy must REALLY like someone called Melody Nelson', I found the whole thing quite captivating. Musically it's very interesting and I can hear bits of Beck and Air in there. Can't understand much of what he's saying of course. I hope it's nothing dodgy... 3 / 3.5

All the features that make Pixies unique and great are here on album one, though there's a bit of inconsistency in the songwriting. It's all good fun at the time, but if I'm honest with myself half the tunes don't stick in the memory afterwards. It's a 3.5 regardless, and because of the big, big presence of Gigantic, Where Is My Mind? and (to a lesser extent) Bone Machine I feel compelled to round up.

While this doesn't scream 'best rap album ever' to me, I think I'm starting to understand the hype. It all just seems very accomplished; the production is catchy and the rhyming is impressively assured for someone who was so young. To real key to greatness is probably in the lyrics, and people who know better than me say the storytelling/social reporting is top notch. I'm not really hearing it yet, but to properly immerse myself in the words is gonna take a few more listens. Still, with its strong production (plus a relatively short running time), Illmatic has given itself a decent chance of getting those additional listens from me, at some point. 3.5

I was into Madness' singles when I was younger but never had much inclination to listen to a full album. I've no idea if this is their best one but I like it; there's not as much filler as I expected. I've read suggestions that this is a kind of spiritual predecessor to Blur's defiantly English Britpop output and that's a reasonable shout, actually. Not as good though. 3.5

Another lush and pleasant listening experience from The Flaming Lips, who aren't one of the truly great bands in my book but I can certainly enjoy them at their best, and would like to see them live one day. 3.5 again, though I think this album might be a bit better than YBTPR on the whole, despite lacking that one really classic song.

I don't care for the incessant noodling and I tend to zone out during the longer tracks, but maybe there are enough interesting bits and pieces here to warrant a 3. They got the formula just right with Long Distance Runaround - it's inventive and technical and weird but with accessible hooks. Good job their butchering of 'America' isn't part of the original release though as I'd be forced to knock this down to a 2...

I'm finding my enjoyment of Stevie Wonder albums largely depends on the schmaltz-squelch ratio. This one gets off to a bad start: 4 pretty schmaltzy numbers in the first 5. The second half is better, though, with You Haven't Done Nothin' in particular bringing some of that lovely squelchy goodness. They Won't Go When I Go doesn't fit into either category but it is a tune, and a welcome addition to the 'songs that appear on multiple of the 1001 albums' club.

That opening trio takes some beating, huh? To be honest I was expecting more from the rest of the album. I think U2 at their best are great, and I was fully ready to hail this as the masterpiece many people say it is, but I don't think all the tunes quite match the obvious ambition. Having said that, I did discover some new tracks I like (Bullet The Blue Sky, In God's Country), and the others grew on me after a while, so maybe I'll call it a near-masterpiece... One Tree Hill the song isn't as good as One Tree Hill the TV show, though. 4.5

I shouldn't have been surprised that I enjoyed this so much, really; I've always had a thing for traditional Irish music. There are lots of irresistible Celtic (& other European) rhythms to dance or yell wildly along to here, plus some grit and substance to the lyrics. Also, though it's easy to disregard on a February day such as this, there's one of the most iconic Christmas songs ever on here too. Which has to be worth something, no?

Does it have its moments? Sure. Does it belong on this list? Nope. We've had 4 or 5 albums from the 90s/00s 'assorted background beats' scene so far, and that already feels like an overrepresentation. Definitely didn't need to listen to all of them before I die.

I flip-flopped on this one a few times, but mainly on whether to round up or down from a 2.5. Because while it didn’t offend me much at all, there’s nothing on here I think I could ever love (unless, perhaps, I was in a field full of people at a very specific time of night). Maybe the genre just isn’t quite for me, and that’s ok. The John Lydon track is a belter though.

The background is kind of interesting, with Marvin knowing half the royalties would go to his recently divorced wife. As a result, the subject matter is raw and personal, and the lyrics are particularly blunt and specific. It’s definitely the most most absorbing thing about this album. Unfortunately the music doesn't do much for me, even in small doses, so a whole double album was, inevitably, a bit of a slog. I did enjoy that the ‘instrumental’ version of When Did I Stop Loving You had vocals throughout the duration... 2 / 2.5

2019! That can only mean... they've updated the book again since I started using the generator :O I already reviewed this album on the Tunelighting podcast so I'll summarise here: - Classic, soulful feel & weighty topics, so can see why it's popular. Seems 'objectively' very good, but I probably respect it more than I enjoy it. - You Ain't The Problem and Hero are terrific. In fact, the more uptempo numbers in general are where this album shines. - Much like Michael's beloved Tottenham Hotspur, the quality is mainly up front. I found the final few tracks a bit lacking. 3.5

Inoffensive, carefree jams with a few middling songs thrown in. Why did it make the cut? Was the list compiler in this band?

This one's on a very short shortlist for *the* album that soundtracked my generation's high school years, and, while that probably influences my opinion of it, I reckon any generation could do a lot worse. The four singles range in hugeness from *occasionally overlooked but everyone still knows all the words* (Smile Like You Mean It), to *automatic singalong at any event anywhere for the rest of time* (Mr Brightside). Then there's the strength in depth: non-singles like Jenny Was A Friend Of Mine, On Top and Glamorous Indie Rock & Roll are cut from the same anthemic cloth as the hits, while I've always have a soft spot for icy-but-comforting tones of Everything Will Be Alright, too. The Killers are distinguished survivors of the 00s indie scene Hunger Games, possibly through sheer force of will and stadium-sized ambition, but also because they just have more good tunes than most of their competition.

The Verve before they were particularly bothered about songs. To fully appreciate this sonic onslaught I feel like I need to play it loud through speakers, sit in a comfy armchair, and fall into a trance while the psychedelic sounds wash over me. But I don’t think I could sustain a trance for 64 minutes; I’d get all restless and fidgety.

It’s pretty bluesy, I’ll give it that. Cons: - Very generic sounding - nothing standout about it - Much of it is pretty samey - Lacks the ‘authenticity’/soul of other blues albums, maybe? - Lotta covers Pros: - It's quite fun - particularly the earthier, less electrified numbers - Supposedly influential (I'll have to take that claim at face value) - The Beano - John Mayall was apparently born in Macclesfield. Represent. Firmly in 2.5 star territory, then.

I loved Dylan's Mr Tambourine Man as a kid. Then I heard The Byrds' version and immediately felt they'd taken all the soul out of it. I think that sums up my two main issues with this album: one, an over-reliance on other people's songwriting (especially Bob Dylan) and two, their trademark sound of jangly guitars and vocal harmonies, while ostensibly 'pretty', actually leaves me pretty cold. It's not how I like my folk rock. Enough of the bad points. Gene Clark's songs (especially I'll Feel a Whole Lot Better and It's No Use) are decent 60s pop bops, and this record pioneered a sound that, while not always my cup of tea, was massively influential to other bands, even decades later. Fifth Dimension definitely has more going for it - there's an edge to some of those tracks - so I have to mark this album slightly lower than that one: 2.5 / 3 stars

I find it so hard to rate these 90s hip hop albums; a lot of them don't sound outstanding to me today but then I don't know what really 'changed the game' at the time. The production is nothing special, and the lyrics cover all the classic rap tropes (but with 200% more sex, and a left-turn towards depression). I think it must be Biggie himself that makes this stand out, if anything? His personality comes across more than most and his rhymes cut through & grabbed my attention pretty well. 2.5, or something. But I had a dream last night (genuinely) that Biggie threatened to hurt me if I didn't round up. Better do what he says.

The vocal performance is undeniable, but I was expecting the music to be a bit rougher around the edges to match Janis's wild child reputation. Instead it's polished and glitzy; almost cabaret-esque in places, or 'female Rod Stewart' in others. Neither of which really does much for me. 2.5

Ah man this is great - perfect chamber pop. It's so lush and interestingly arranged without ever sounding like its trying to be too clever. Some of the melodic changes are layered harmonies are properly euphoric, even when the lyrics are more melancholy. It feels a bit like what The Beach Boys were aiming for with Smile or Pet Sounds, while also being rather Beatles-eque. I have to conclude that The Zombies belong in such company, though. It's mad that they packed it in before this album was even released. It gets a 4.5 on merit, and a nice bump up because it was such a pleasant surprise. And also because This Will Be Our Year was the first dance at my sister's wedding. Good vibes all round.

Well how about that. As fate would have it I gave Cat Stevens a proper listen for the first time just the other day. And y’know what? I’m a fan. Good, clean songs with good, clean, positive messages, earnestly performed. Wild World and the title track will always remind me of Skins and Extras respectively, but that’s no bad thing. 4 / 4.5

Not bad. In parts it's pretty standard 70s punk, but mostly they use a wider sonic palette which keeps things interesting. There are some fun vocal hooks too. I also enjoy that the band members had wacky names like 'Captain Sensible', 'Rat Scabies' and 'Brian James'.

He had me with a couple of classic bangers early doors, some irresistible, sexy grooves and an array of forward-thinking, electrified sounds. He lost me by dragging it all out for so long that the bangers dried up, the grooves became resistible (albeit still sexy), and the sounds became old hat by the time the song ended.

Neil Hannon’s wry lyrics and orchestral take on pop add something a bit different to the 1001, so fair enough that The Divine Comedy comedy are represented, but at that same time I didn’t feel I was listening to a particularly remarkable album. I enjoyed the first couple of tracks (and any time the music was a bit more sprightly or rousing) but on the whole I didn’t really connect with it. 2.5

I think this confirms that I like The The. A welcome generator-aided artist discovery. It's a melting pot of familiar styles but the result is quite unique. The guy clearly had grand ambitions, which can make it all sound a bit silly and pretentious at times, but I think he succeeded more often that not. Like the the the album that came up previously I'm giving it a commendable 3.5 stars.

When this started I had rock bottom expectations, but some of it was actually rather lovely. There’s still a lingering feeling of ‘what makes this special?’, but to be fair, it was probably quite far ahead of its time. The influence on today’s many instrumental post-rock bands (most of whom I’d like, but would only ever listen to in small doses) is clear. 2.5.

It has recently come to my attention that Pet Shop Boys' stockpile of bangers is larger than I gave them credit for. It's just as well, really, as when the tunes are weaker all we're left with is their distinctive brand of synth-pop, which I think is kinda naff, actually. One more 'Go West' or 'Always on My Mind' sized banger would've tipped the balance towards 4 stars, but as it is: 3.5.

Another baffling instance of the list compiler automatically selecting an act's debut while neglecting their best album. Why no Toxicity? I still enjoyed discovering this one though. Nobody does it quite like SOAD; manic riffs, sudden tempo changes, Eastern European folk influences, political ire, Serj Tankian's distinctive operatic yelp, darkly epic anthems - they're all here. But they hadn't quite been perfected yet.

That's three Kraftwerk albums now, but I'm still mildly charmed by their gentle soundscapes. How strange it all must've sounded back then, eh?! Is this road-based record better than their rail-based record? I'm not sure. But they both get you where you need to be.

Some interesting bits of production here and there aside, this really didn't do it for me - far too R&B for my tastes.

The title track is one of those that deserves its ubiquity. I've heard it a million times but never really get tired of it, and listening again today I realised that the guitar solo has to be up there with my favourite ever. I'm not sure what to make of the rest. At times it's bland, and I still don't understand how this band got so huge, but I'm starting to realise that they did excel at some things (vocal harmonies and wistfulness, mainly). Also, the lyrical themes and some of the grander arrangements give this album an ambitious, stately feel that I quite like (the 'state' in question being California, I suppose...) 3.5

Part of what I like about T.Rex is it's all so economical - there are no wasted notes or superfluous parts. On paper these songs should be bog-standard, basic rock 'n' roll tunes, but between Marc Bolan's breezy vocals, the punchy production, some simple but impactful chord changes and some well deployed strings and horns, they're transformed into something a bit magical. Effortless cool and swagger.

I’ve been relying on the generator to provide me with a proper, overdue Springsteen education, so here we go… Badlands is a good example of The Boss doing that rousing, anthemic thing he does best, and the second half of the album when the music gets more immediate and soulful actually works really well too, especially on The Promised Land and Streets of Fire. I find a couple of tracks a bit tedious, and struggled to make out some of the lyrics in Bruce’s drawl. But overall, a very decent start to my Springsteen album odyssey.

The two Val Halen tracks I already knew (Jump & Hot For Teacher) are on here, and they’re both good fun. The rest is a mixed bag; I found a lot of it quite forgettable, but at just 33 minutes I can't say I ever got bored.

Good band. I’d class myself as a fan, despite not having delved too deeply into their back catalogue (my bad) or seen them live (their bad, for cancelling the show I had a ticket for years ago). I’ve dished out some decent scores to stuff I’ve enjoyed less than this, based partly on perceived historical importance. I think it’s harder for albums from this century (even very good ones) to make a real splash, so to warrant their place on the list they have to bring the tunes. Luckily, this one does. The manic, funky tracks, intense rockers and softer, prettier numbers all hit as far I’m concerned. Crying, Love Dog and DLZ (ofc) were my standouts. 3.5 / 4

The generator's thrown up lots of 90s hip-hop and it's all blurring into one, so I had low hopes when this popped up. But these hopes were surpassed! Yeah, stylistically I can't really distinguish it from a few other artists we've had, but somehow this found a bit of a sweet spot with fun, laid back beats and words that a) I can hear clearly, and b) I want to listen to. A line in Take A Rest sums it up for me: "Arranged by a great brain, delivering rhymes clear and concise with a nice dope voice". Word. 3.5

This reminded me of my issues with the last S&TFS album we had: basically, the rambling funk instrumentals just bored me. At least on 'Stand!' these were mostly offset with some great songs; the songs on here are a step down, for me. I've read the wiki entry to try and discover what it is the critics heard in this album that I don't, and concluded that either the societal context at the time was *very* important to appreciating it, or they all gave a rather generous interpretation of drugged-up, meandering songwriting.

I like the guitar effects on this album a lot - really interesting, out-there stuff, especially on The Fly (which is among my favourite U2 tracks, as is One). The sound of this album appeals to me slightly more than the traditional Joshua Tree style, and I respect the reinvention between the two. Like The Joshua Tree, there is a drop in quality beyond the singles, but, like The Joshua Tree, the other tracks did grow on me nicely after a while. 4.5 stars. It probably doesn’t deserve it, but I’m gonna round up. I think it’s because I listened to a lot of these tracks when I was about 13 and still feel an affinity today.

This is certainly a different side of Zappa to Hot Rats. For what essentially seems like one long piss-take it's impressively well-realised, musically, and meshes together nicely as one piece of work. It's also genuinely funny at times and generally entertaining, though I'm unlikely to return to it much - I suspect the jokes and random interludes would lose their lustre after repeated listens.

It seems The Stooges steadily improved with each album - this one is in solid 3 / 3.5 territory. Arguably Fun House actually had more 'raw power', but maybe this album has more 'fun'? In the sense that tighter song structures and a greater variation in tempo and dynamics are more fun to listen to, right? I maintain that Iggy's solo career (including his very decent recent albums) has the better material, but accept that for pure, feral energy and influence on music history The Stooges had something about them.

A bandoneon and vibraphone supergroup - AT LAST! To be fair, the collaboration was probably inevitable, because after all… it takes two to tango. There were some good vibes here and there but the band did go on and on a bit.

Ah, sweet lockdown memories... No surprise the critics were so unanimous in their praise - this is a great album. Distinctive and innovative music (I enjoy the prevalence of homemade percussion) but not at the expense of good tunes. Also, lyrics that don't hold back and deal with weighty topics, but not at the expense of humour or relatability. 4.5

Beck is a consistently four-star artist in my book, though in the context of the 1001 albums book Guero is more of a 3.5. It’s less groundbreaking than some of his other releases and not particularly focused - it’s a bit all over the place stylistically. E-Pro and Girl aside, I wouldn’t say it’s essential listening. Probably a bit lucky to make the cut, to be honest. But did I enjoy the grooves? Would I happily listen to it all again? Am I rounding up? Hell Yes.

I only discovered Eels a few years ago. There were some songs I really liked and the quirky lyrics grabbed my attention but for whatever reason I always felt a whole album might be a bit much for me. Well I'm happy to report this album wasn't too much for me; it drew me into its eely world and kept my interest throughout. The grungey guitar bits were a surprise, and really add an extra edge to what was already quite an inviting, pretty mix of sounds.